At age 11, Madden joined PACE Youth Theatre to help overcome his shyness.	11 岁时，麦登加入了 PACE 青年剧场以协助克服胆怯。
He was soon cast as young Andy in the film adaptation of Iain Banks's Complicity; he was then cast in the lead role of Sebastian in the children's television series Barmy Aunt Boomerang, for which he filmed six episodes that aired from 1999 until 2000.	他很快被选派在伊恩·班克斯之《共谋》的改编电影中扮演年轻的安迪；之后被选派在儿童电视影集《巴尼阿姨布玛瑞》中扮演主角赛巴斯钦，他在其中拍摄了六集，从 1999 年播映至 2000 年。
He attended the Royal Scottish Academy of Music and Drama (RSAMD) in Glasgow, from where he graduated in 2007. While at RSAMD, he worked with The Arches and Glasgow Repertory Company, followed by Franz Xaver Kroetz's play Tom Fool at the Citizens' Theatre, which was so well received that it transferred to London, where Madden was spotted by a team from Shakespeare's Globe.	他曾就读格拉斯哥的苏格兰皇家音乐和戏剧学院 (RSAMD)，并在 2007 年毕业。在 RSAMD 时，他曾与 The Arches 及 Glasgow Repertory Company 合作，之后参加弗朗兹·萨韦尔·克罗兹在公民剧院的戏剧《汤姆傻子》，该戏剧因大获好评而移往伦敦，环球剧场团队就在那里注意到麦登。
In his final year with RSAMD, he was cast as Romeo in a production of Romeo and Juliet at the modern Globe Theatre which, after an initial run in London, made a tour of open-air stages during the summer of 2007, this being the Globe's first tour.	他在 RSAMD 的最后一年时，获选在环球剧场的《罗密欧与茱丽叶》一作中演出罗密欧的角色；该剧在伦敦首演之后于 2007 年夏天进行了露天舞台巡演，是环球剧场的第一场巡演。
He played Callum McGregor in the stage production of Malorie Blackman's Noughts & Crosses in 2008.	他在 2008 年玛洛丽·布莱克曼的《画圈与打叉》舞台剧作中饰演卡勒姆·麦克格雷格。
He later gained the lead role of Dean McKenzie in the 2009 BBC comedy-drama series Hope Springs, followed by his roles as Ripley in the 2010 film Chatroom, and as Theatre of Hate singer Kirk Brandon in the 2010 film Worried About The Boy.	他之后获得 2009 年 BBC 喜剧影集《希望之泉》主角迪恩·麦肯锡的角色，接着在 2010 年电影《聊天弑》中饰演雷普利，并在 2010 年电影《乔治男孩》中饰演《仇恨剧院》歌手柯克·布兰登。
From 2011 to 2013, he starred as Robb Stark in the HBO series Game of Thrones, based upon the series of novels, A Song of Ice and Fire, by George R. R. Martin.	2011 年到 2013 年，他在改编自乔治·R·R·马丁《冰与火之歌》系列小说的 HBO 影集《权力游戏》中饰演罗柏·史塔克。
Speaking in September 2018, Madden claimed that he was not paid much for his role in Game of Thrones.	麦登在 2018 年 9 月的发言中声称，他在《权力游戏》中的角色并未获得大笔薪酬。
During this period, Madden also starred in the Channel 4 comedy-drama series Sirens,and in the BBC drama series Birdsong.	在此期间，麦登也在第 4 频道的喜剧影集《诡魅海妖》和 BBC 戏剧影集《鸟歌》中演出。
In May 2013, Madden was chosen to portray the prince in the live action Disney film Cinderella.	2013 年 5 月，麦登获选在真人版迪士尼电影《仙履奇缘》中饰演王子。
The film was released in March 2015.	该电影在 2015 年 3 月上映。
Madden first obtained his Screen Actors Guild (SAG) card for the 2014 miniseries Klondike, in which he plays Bill Haskell.	麦登因为 2014 年迷你影集《克朗代克》首次获得美国演员工会 (SAG) 卡；他在该影集中饰演比尔·哈斯克尔。
Between 12 May and 13 August 2016, Madden appeared on stage in London's West End playing the part of Romeo in Romeo and Juliet, where he was reunited with his Cinderella costar Lily James, who played Juliet, and director Kenneth Branagh.	2016 年 5 月 12 日到 8 月 13 日之间，麦登于伦敦西区剧院的舞台演出，在《罗密欧与茱丽叶》中饰演罗密欧的角色；他在该剧与饰演《茱丽叶》且曾与他联合主演《仙履奇缘》的莉莉·詹姆斯及导演肯尼斯·布莱纳重逢。
Richard was replaced as Romeo in July 2016, after suffering an ankle injury.	理查历经脚踝受伤之后，其罗密欧的角色在 2016 年遭到替换。
In 2016, he played the leading role of Cosimo de' Medici, the son of the founder of the Medici Bank during the Italian Renaissance, in the Italian-British television drama series, Medici: Masters of Florence.	2016 年，他在义大利-英国电视戏剧影集《麦地奇家族：佛罗伦斯大师》中扮演主角科西莫·德·麦地奇，也就是义大利文艺复兴期间麦地奇银行的创办人之子。
In the same year he played American pickpocket Michael Mason in the 2016 action movie Bastille Day, starring alongside Idris Elba.	同年，他在 2016 年动作片《巴士底日》饰演美籍扒手麦克·梅森，与伊卓瑞斯·艾巴连袂演出。
In 2018, Madden garnered widespread critical acclaim and wider recognition for his role as Sergeant David Budd in the BBC thriller series Bodyguard.	2018 年，麦登因为在 BBC 惊悚影集《内政保镳》的大卫·布德中士一角，获得广大的高度评价且更广为人知。
After achieving high levels of popularity in the UK, the show was released to a worldwide audience on Netflix in October 2018.	在英国获得高人气后，该节目在 2018 年 10 月于 Netflix 对全世界的观众上映。
His performance earned him a Golden Globe Award for Best Actor – Television Series Drama.	他的演出使他赢得金球奖剧情类剧集最佳男主角。
Bodyguard went on to be nominated for the Primetime Emmy Award for Outstanding Drama Series.	《内政保镳》之后又获得黄金时段艾美奖最佳影集提名。
Jolie first witnessed the effects of a humanitarian crisis while filming Lara Croft: Tomb Raider (2001) in war-torn Cambodia, an experience she later credited with having brought her a greater understanding of the world.	裘莉在饱受战争摧残的柬埔寨拍摄《古墓奇兵》(2001) 时首次目睹人道危机的影响；她之后认为这个经历帮助她对世界有更深入的了解。
Upon her return home, Jolie contacted the United Nations High Commissioner for Refugees (UNHCR) for information on international trouble spots.	裘莉返家后联络了联合国难民事务高级专员 (UNHCR) 以寻求有关国际不安定地区的资讯。
To learn more about the conditions in these areas, she began visiting refugee camps around the world.	为了深入了解这些地区的情况，她开始探访世界各地的难民营。
In February 2001, she went on her first field visit, an 18-day mission to Sierra Leone and Tanzania; she later expressed her shock at what she had witnessed.	2001 年 2 月，她展开了第一次实地探访，是前往狮子山和坦尚尼亚的 18 天访问；她之后表示对所目睹的情况感到震惊。
In the following months, Jolie returned to Cambodia for two weeks and met with Afghan refugees in Pakistan, where she donated $1 million in response to an international UNHCR emergency appeal, the largest donation UNHCR had ever received from a private individual.	之后的几个月，裘莉返回柬埔寨两周，并在巴基斯坦与阿富汗难民会面，她在那里捐出了 100 万美元以响应国际 UNHCR 紧急呼吁，这是 UNHCR 历来从私人收到的最大笔捐款。
She covered all costs related to her missions and shared the same rudimentary working and living conditions as UNHCR field staff on all of her visits.	她在所有的探访期间负担了与她访问相关的所有费用，而且与 UNHCR 当地人员共享相同的基础工作和生活条件。
Jolie was named a UNHCR Goodwill Ambassador at UNHCR headquarters in Geneva on August 27, 2001.	裘莉在 2001 年 8 月 27 日于日内瓦的 UNHCR 总部获任命为 UNHCR 亲善大使。
Over the next decade, she went on more than 40 field missions, meeting with refugees and internally displaced persons in over 30 countries.	在接下来的十年间，她持续进行超过 40 场实地考察，在超过 30 个国家与难民和国内流离失所者见面。
In 2002, when asked what she hoped to accomplish, she stated, "Awareness of the plight of these people.	2002 年，被问及她希望实现什么时，她表示「让人们意识到这些人的困境。
I think they should be commended for what they have survived, not looked down upon." To that end, her 2001–02 field visits were chronicled in her book Notes from My Travels, which was published in October 2003 in conjunction with the release of her humanitarian drama Beyond Borders.	我认为他们应该因为从苦难中存活下来而获得赞扬，而不是遭到鄙视。 」为此，她在 2001-02 年的实地考察都编入她的《我的旅行笔记》中；该书在 2003 年 10 月与她的人道剧情片《战火情人》联合发行。
Jolie aimed to visit what she termed "forgotten emergencies," crises that media attention had shifted away from.	裘莉致力于探访媒体已不再关注且被她称为「被遗忘的紧急事件」危机。
She became noted for traveling to war zones, such as Sudan's Darfur region during the Darfur conflict, the Syrian-Iraqi border during the Second Gulf War, where she met privately with U.S. troops and other multi-national forces, and the Afghan capital Kabul during the war in Afghanistan, where three aid workers were murdered in the midst of her first visit.	她因为前往战区而变得出名，例如苏丹在达佛冲突期间的达佛地区、伊拉克战争期间的叙利亚-伊拉克边界 (她在那里私下与美军及其他多国军队碰面)，以及在阿富汗战争期间的阿富汗首都喀布尔 (在那里，有三位救援工作者在她第一次探访当中遭到杀害)。
To aid her travels, she began taking flying lessons in 2004 with the aim of ferrying aid workers and food supplies around the world; she now holds a private pilot license with instrument rating and owns a Cirrus SR22 and Cessna 208 Caravan single-engine aircraft.	为了替她的旅行提供助力，她在 2004 年开始参加飞行课程，目的是在世界各地运送救援工作者和食物补给；她现在持有具备仪器飞行证的私人飞行执照，且拥有一部 Cirrus SR22 和 Cessna 208 Caravan 单引擎飞机。
On April 17, 2012, after more than a decade of service as a UNHCR Goodwill Ambassador, Jolie was promoted to the rank of Special Envoy to High Commissioner António Guterres, the first to take on such a position within the organization.	在担任 UNHCR 亲善大使超过十年之后，裘莉在 2012 年 4 月 17 日获升任为高级专员安东尼欧·古特瑞斯的特使，是第一个在该组织内获得此类职位的人。
In her expanded role, she was given authority to represent Guterres and UNHCR at the diplomatic level, with a focus on major refugee crises.	她的角色提升后，便获授权在外交层级代表古特瑞斯和 UNHCR，聚焦于重大难民危机。
In the months following her promotion, she made her first visit as Special Envoy—her third over all—to Ecuador, where she met with Colombian refugees, and she accompanied Guterres on a week-long tour of Jordan, Lebanon, Turkey, and Iraq, to assess the situation of refugees from neighboring Syria.	她在升任后的几个月后第一次 (是整体的第三次) 以特使身分访视厄瓜多，她在那里与哥伦比亚难民见面，并陪同古特瑞斯进行为期一周的约旦、黎巴嫩、土耳其和伊拉克之旅，以评估来自邻国叙利亚的难民情形。
Since then, Jolie has gone on over a dozen field missions around the world to meet with refugees and undertake advocacy on their behalf.	从那时开始，裘莉在世界各地进行了十多次实地考察，与难民见面并代表他们提出倡议。
In an effort to connect her Cambodian-born adopted son with his heritage, Jolie purchased a house in his country of birth in 2003.	为了努力使她柬埔寨裔的领养儿子与他的传统建立连结，裘莉在 2003 年于他出生的故乡买了一间房子。
The traditional home sat on 39 hectares in the northwestern province Battambang, adjacent to Samlout national park in the Cardamom mountains, which had become infiltrated with poachers who threatened endangered species.	这间位于马德望省西北边的传统住家占地 39 公顷，邻接豆蔻山脉中的萨姆洛特国家公园；该公园曾遭到威胁濒危物种的盗猎者潜入。
She purchased the park's 60,000 hectares and turned the area into a wildlife reserve named for her son, the Maddox Jolie Project.	她买下了这座公园的 60,000 公顷，并将该区域转变成以她儿子为名的野生保护区，麦道斯·裘莉专案。
Released as a single in July 1969, "Space Oddity" was a largely acoustic number augmented by the eerie tones of the composer's Stylophone, a pocket electronic organ.	1969 年 7 月以单曲发行的《太空怪谈》是大量以作曲者的笔型合成器 (一种口袋电子管风琴) 怪异音调增音的歌曲。
The title and subject matter were inspired by Stanley Kubrick's 2001: A Space Odyssey and introduced the character of Major Tom.	歌名和主题的灵感来源是史丹利·库柏力克的《2001：太空漫游》，并介绍了汤姆少校的角色。
The song dates back as early as February 1969.	这首歌最早追溯至 1969 年 2 月。
It was written for a promotional video named "Love You till Tuesday".	它是为一部名为《爱你到周二》的宣传影片所写。
The video's intent was to sell Bowie to a new label as he had been dropped from Deram Records in April 1968.	这段影片的用意是向新的唱片公司推销鲍伊，因为他在 1968 年 4 月遭到迪拉姆唱片终止合约。
He was urged by his manager Kenneth Pitt to record some new material and so "Space Oddity" was born.	他被经纪人肯尼斯·皮特催促录制一些新的材料，《太空怪谈》因而诞生。
Some commentators have also seen the song as a metaphor for heroin use, citing the opening countdown as analogous to the drug's passage down the needle prior to the euphoric 'hit', and noting Bowie's admission of a "silly flirtation with smack" in 1968.	部分评论家也将该歌曲视为使用海洛因的比喻，引用开场的倒数作为狂喜「发作」之前药物沿着针头而下的类比，并注记了鲍伊在 1968 年坦承「与海洛因的一场愚蠢邂逅」。
His 1980 hit "Ashes to Ashes" declared "We know Major Tom's a junkie".	他的 1980 年热门作品《尘归尘》宣告「我们知道汤姆少校是瘾君子」。
"Unwashed and Somewhat Slightly Dazed" reflected a strong Bob Dylan influence, with its harmonica, edgy guitar sound and snarling vocal.	《卑下又有点茫然》以口琴、前卫的吉他声和咆哮的歌声反映出强烈的巴布·狄伦影响力。
"Letter to Hermione" was a farewell ballad to Bowie's former girlfriend, Hermione Farthingale, who was also the subject of "An Occasional Dream", a gentle folk tune reminiscent of the singer's 1967 debut album.	《给赫敏的信》是向鲍伊前女友赫敏·法丁盖尔的告别情歌；她也是《偶然的梦》的主题，该歌曲是让人联想到该歌手 1967 年出道专辑的温柔民谣曲调。
"God Knows I'm Good", Bowie's observational tale of a shoplifter's plight, also recalled his earlier style.	《上帝知道我很好》是鲍伊对商店扒手处境的观察叙述，也令人回想起他的早期风格。
"Cygnet Committee" has been called Bowie's "first true masterpiece".	《小天鹅委员会》被称为鲍伊的「第一部真正的杰作」。
Commonly regarded as the album track most indicative of the composer's future direction, its lead character is a messianic figure "who breaks down barriers for his younger followers, but finds that he has only provided them with the means to reject and destroy him".	这首歌被普遍视为最能象征作曲者未来方向的专辑曲目，其主角是一位弥赛亚人「为他年轻的追随者打破隔阂，却发现他只为他们提供了拒绝和摧毁他的工具」。
Bowie himself described it at the time as a put down of hippies who seemed ready to follow any charismatic leader.	鲍伊本人当时将它形容为，对于似乎准备好追随任何魅力型领导者的嬉皮的贬低。
Another track cited as foreshadowing themes to which Bowie would return in the 1970s, in this case the fracturing of personality, was "Janine", which featured the words "But if you took an axe to me, you'd kill another man not me at all".	另一首被视为鲍伊将在 1970 年代回归的伏笔主题 (在此情况下为人格的裂解) 是《珍宁》一曲，其中特别用了「但是如果你将我摧毁，你杀掉可能会是另一个男人，而不是我」字眼。
The Buddhism-influenced "Wild Eyed Boy from Freecloud" was presented in a heavily expanded form compared to the original guitar-and-cello version on the B-side of the "Space Oddity" single; the album cut featured a 50-piece orchestra.	相较于《太空怪谈》单曲 B 面的原始吉他和大提琴版本，受到佛教影响的《来自费克劳德的野眼男孩》则是以大量扩展的形式呈现；专辑的特辑是以 50 人管弦乐为特色。
"Memory of a Free Festival" was Bowie's reminiscence of an arts festival he had organised in August 1969.	《自由庆典的记忆》是鲍伊回想他在 1969 年 8 月举办过的一场艺术音乐节。
Its drawn-out fade/chorus ("The Sun Machine is coming down / And we're gonna have a party") was compared to The Beatles' "Hey Jude"; the song has also been interpreted as a derisive comment on the counterculture it was ostensibly celebrating.	它冗长的淡出/合唱 (「太阳机器即将落下 / 而我们将举办派对」) 被拿来和披头四「Hey Jude」比较；该歌曲也被诠释为对表面上赞颂的反文化做出嘲讽评论。
The background vocals for the crowd finale featured Bob Harris, his wife Sue, Tony Woollcott and Marc Bolan among other people.	大合唱终曲的背景演唱特别呈现了鲍伯·哈里斯、他的妻子苏、东尼·沃柯特和马克·波伦等人。
In 1970 Bowie cut the tune in half for the A- and B-sides of a more rock-oriented version featuring the band that would accompany him on The Man Who Sold the World later that year: Mick Ronson, Tony Visconti and Mick Woodmansey – an embryonic form of Ziggy Stardust's Spiders From Mars.	1970 年，鲍伊针对较为摇滚导向的版本 A 面和 B 面将曲调减半；该版本主打的是当年稍后和他在《出卖世界的男人》伴奏的乐团：米克·朗森、托尼·维斯康蒂和米克·伍德曼西。此版本是《Ziggy Stardust 来自火星的蜘蛛》的雏形。
NY 215 began at a three-way intersection with NY 360 east of the hamlet of Morton in the town of Hamlin.	NY 215 的开端是与汉姆林镇摩顿村东边 NY 360 交会的三向路口。
NY 360 turned off Redman Road here to follow Morton Road west to the hamlet of Morton while NY 215 headed north on Redman Road.	NY 360 在这里转离雷德曼路以沿着摩顿路往西至摩顿村，NY 215 则是在雷德曼路上往北前进。
It passed by open, cultivated fields and small pockets of residences as it proceeded through rural northwestern Monroe County.	它在穿越门罗郡西北郊区的途中，行经了开阔的耕田和小型零星的住宅。
After 1.5 miles (2.4 km), NY 215 intersected Moscow Road, a local highway connecting NY 215 to the then-western end of the Lake Ontario State Parkway.	1.5 英哩 (2.4 公里) 之后，NY 215 与莫斯科路交会；这是一条将 NY 215 连接到当时安大略湖州立公园大道西端的当地公路。
North of Moscow Road, the fields on the highway's east side slowly gave way to forested areas as the route approached Hamlin Beach State Park and intersected Cook Road.	莫斯科路北边，随着路线接近汉姆林海滩州立公园并和库克路交会，公路西侧的田野慢慢地被树木丛生的区域取代。
The route terminated 500 feet (150 m) north of Cook Road at the southern boundary of Hamlin Beach State Park.	这条路线的终点在汉姆林海滩州立公园南方边界的库克路北边 500 英呎 (150 公尺) 处。
The physical roadway continued into the park and to nearby Lake Ontario as a local highway.	实体道路继续进入公园，并作为当地公路前往附近的安大略湖。
The portion of Redman Road north of modern NY 360 in Hamlin was a state highway as early as 1920; however, it was not assigned a designation until the early 1940s, when it became NY 215.	汉姆林现今 NY 360 北边的雷德曼路部分，早在 1920 年时就是州立公路，但是直到 1940 年代初期才获派称号，也就在当时成为 NY 215。
At the time, it was the primary highway to and from Hamlin Beach State Park on the Lake Ontario shoreline, as no continuous east–west lakeside roadway existed at the time.	当时，它是往返安大略湖湖岸之汉姆林海滩州立公园的主要公路，因为那时候没有连续的东西向湖畔道路。
This changed in the late 1940s and early 1950s following the construction of the Lake Ontario State Parkway, a lakeshore highway connecting the park to NY 261 in Greece.	这一点在 1940 年代晚期和 1950 年代早期建造安大略湖州立公园大道之后改变了；该公园大道是将公园连接至葛利斯的 NY 261 的湖岸公路。
The parkway began east of NY 215 at Moscow Road and provided a direct connection to Hamlin Beach State Park from Greece, and eventually Rochester.	公园大道始自莫斯科路的 NY 215 东边，并从葛利斯直接衔接到汉姆林海滩州立公园，以及最后的罗彻斯特。
As a result, NY 215 became merely an alternate route to the park.	因此，NY 215 仅成了前往公园的替代路线。
In the early 1970s, the Lake Ontario State Parkway was extended westward across Monroe and Orleans counties to Lakeside Beach State Park in Carlton.	1970 年代初期，安大略湖州立公园大道往西延伸至穿越门罗和奥尔良郡，直到卡尔顿的湖畔海滩州立公园。
NY 215's connection to Hamlin Beach State Park was severed as part of the construction.	在建造的过程中，NY 215 对汉姆林海滩州立公园的连接遭到截断。
As a result, the remaining portion of NY 215 from NY 360 to Cook Road lost its signed route status and was redesignated NY 941P, an unsigned reference route.	因此，NY 215 从 NY 360 到库克路的剩余部分失去了其标示路线状态，而且重新定名为未标示的参考路线 NY 941P。
The highway remained state maintained until 2007, when ownership and maintenance of it was transferred from the state of New York to Monroe County as part of a highway maintenance swap between the two levels of government.	这条公路一直到 2007 年都是由州政府维护，该年它的拥有权和维修从纽约州转移给门罗郡，作为两个政府层级之间公路维护互换的一部分。
A bill (S4856, 2007) to enact the swap was introduced in the New York State Senate on April 23 and passed by both the Senate and the New York State Assembly on June 20.	4 月 23 日在纽约州参议院推行了一项法案 (S4856, 2007) 以颁布此互换事项，并在 6 月 20 日由参议院和纽约州众议院双方通过。
The act was signed into law by Governor Eliot Spitzer on August 28. Under the terms of the act, it took effect 90 days after it was signed into law; thus, the maintenance swap officially took place on November 26, 2007. The former routing of NY 941P is now part of CR 236.	这个法案在 8 月 28 日由州长艾略特·史必哲签署成为法律。根据法案的条款，它在签署成为法律的 90 天后生效；因此，维护工作的互换在 2007 年 11 月 26 日正式实施。 NY 941P 先前的路线现在是 CR 236 的一部分。
Like all species in the genus Lactarius, L. subflammeus is mycorrhizal, forming mutualistic associations with trees.	就像乳菇属中的所有种类，橙乳菇是与树木形成互利共生关系的菌根。
The fungus and the plant forms structures called ectomycorrhizae, a specialized sheath of hyphae on the surface of the root from which hyphae extend into the soil and into the outer cortical cells of the root.	这种真菌和植物会形成称为外生菌根的结构，是根部表面上的特殊菌丝鞘，菌丝从其中延伸到土壤中，并进入根部的外部皮质细胞。
The fruit bodies of L. subflammeus grow scattered to grouped under conifers or in mixed conifer-hardwood forests near pine and spruce, from August to December.	8 月到 12 月间，橙乳菇的子实体会在针叶树下方或混合针叶阔叶林中松树及云杉的附近，分散地生长至成群。
The fungus is widely distributed in the Pacific Northwest, where it is very common in conifer forests.	这种真菌广泛地分布在太平洋西北地区，在其中的针叶林中非常常见。
The habitat of the type location was coastal sand dunes under pine.	这种模式的栖地地点是海岸沙丘的松树下方。
States from which the fungus has been collected include Washington, Idaho, Oregon, California, and Colorado.	曾经采集到这种真菌的州包括华盛顿、爱达荷、奥勒冈、加州和科罗拉多。
The mushroom's range extends north into Canada, where it has been found near Victoria, British Columbia in coastal forests dominated by Douglas-fir (Pseudotsuga menziesii).	这种真菌的范围延伸至加拿大，曾在卑诗省维多利亚附近主要生长花旗松 (Pseudotsuga menziesii) 的海岸森林中发现。
Brooks left St.	布鲁克斯离开了圣
Ives and moved to Paris.	艾维斯并搬到巴黎。
Poor young painters such as Pablo Picasso and Henri Matisse were creating new art in the Bohemian districts of Montparnasse and Montmartre.	像帕布罗·毕卡索和亨利·马谛斯这类的年轻穷画家，都在蒙帕纳斯和蒙马特的波西米亚区创作新艺术。
In contrast, Brooks took an apartment in the fashionable 16th arrondissement, mingled in elite social circles, and painted portraits of wealthy and titled women.	相反地，布鲁克斯在时尚的第 16 区租下一间公寓、与上流社交圈交往，并画出富裕且有地位的女性肖像。
These included her current lover, the Princess de Polignac.	这些肖像包括她当时的情人，波利尼亚克公主。
In 1910 Brooks had her first solo show at the prestigious Gallery Durand-Ruel, displaying thirteen paintings, almost all of women or young girls.	1910 年，布鲁克斯在具声望的杜朗鲁耶画廊举办第一场个展，展示了十三幅画作，几乎全数都是女性或年轻女孩。
Some were portraits; others showed anonymous models in interior scenes or against tonal backgrounds, often with pensive or withdrawn expressions.	有些是肖像；其他则是展示在室内场景或使用调色背景的匿名模特儿，通常带有哀愁或孤僻的表情。
The paintings were generally naturalistic, showing an attentive eye for the details of Belle Époque fashion, with parasols, veils, and elaborate bonnets on display.	这些画作普遍来说属自然主义，展现了洋伞、面纱和精致的无边女帽，显示出对美好年代时尚的细微观察。
Brooks included two nude studies in this first exhibition—a provocative choice for a woman artist in 1910.	布鲁克斯在这个第一场展览中纳入了两幅裸体习作──这在 1910 年对于女性艺术家而言是相当大胆的选择。
In The Red Jacket, a young woman stands in front of a large folding screen, wearing only a small open jacket, with her hands behind her back.	在《红外套》中，有一位年轻女性站在大型折叠屏风前，仅穿着一件小型开襟外套，并将双手放在背后。
She is so frail, and her downcast face looks so forlorn that one contemporary reviewer referred to her as a consumptive; Brooks described her simply as "a poor girl who was cold".	她非常虚弱，而且垂头丧气的脸看起来如此悲惨，以至于一位当代评论家将她称为肺病患者；布鲁克斯仅将她形容为「感到寒冷的穷女孩」。
The other, White Azaleas, is a more sexually charged nude study of a woman reclining on a couch.	另一幅《白色杜鹃花》是一位女性斜躺在沙发上、更充满色情意味的裸体习作。
Contemporary reviews compared it to Francisco de Goya's La maja desnuda and Édouard Manet's Olympia.	当代评论将它与法兰西斯科·哥雅的《La maja desnuda》和爱德华·马奈的《奥林匹亚》进行比较。
Unlike the women in those paintings, the subject of White Azaleas looks away from the viewer; in the background above her is a series of Japanese prints which Brooks loved.	与那些画作中的女性不同的是，《白色杜鹃花》主角的视线避开了观赏者；她上方的背景中是布鲁克相当喜爱的一系列日本版画。
The exhibition established Brooks' reputation as an artist.	该展览确立了布鲁克斯的艺术家声望。
Reviews were effusive, and the poet Robert de Montesquiou wrote an appreciation calling her "the thief of souls." The restrained, almost monochromatic decor of her home also attracted attention; she was often asked to give advice on interior design, and sometimes did, though she did not relish the role of decorator.	评论相当热烈，诗人罗伯特·德孟德斯鸠还写了一篇赏析，称她为「灵魂偷窃者」。她家中朴素到几乎单色的装饰也引起了注意；经常有人要求她提供室内设计的建议，而尽管她并不喜欢装潢师的角色，有时候还是会提供。
Brooks became increasingly disillusioned with Parisian high society, finding the conversation dull, and feeling that people were whispering about her.	布鲁克斯对于巴黎上层社会的幻想逐渐破灭，因为她发现对话乏味，而且觉得人们私底下都在议论她。
Despite her artistic success, she described herself as a lapidée—literally, a victim of stoning.	即使在艺术上获得成功，她仍然形容自己为 lapidée—字面上的意思是遭石头砸死的受害者。
In 1909 Brooks met Gabriele D'Annunzio, an Italian writer and politician who had come to France to escape his debts.	1909 年，布鲁克斯遇见了加布里埃尔·达努吉欧，一位到法国躲避债务的义大利作家和政治家。
She saw him as a martyred artist, another lapidé; he wrote poems based on her works and called her "the most profound and wise orchestrator of grays in modern painting".	她将他视为具牺牲精神的艺术家，也就是另一个 lapidé；他以她的作品写了诗，并称她「在现代绘画中最有深度和智慧的灰色编排者」。
Astrocytes form gap junctions and are closely associated with the vasculature and its basal lamina in the adult SVZ and subsequently in the RMS.	星状细胞会形成裂隙接合，而且与成体 SVZ 和之后 RMS 中的血管分布及其基底层密切相关。
They may serve as an interface to modulate influences of endothelial and circulation-derived factors as well as the availability of cytokines and growth factors in this system.	它们可能有介面的作用，可调节内皮和循环衍生因子的影响，以及此系统的细胞激素可用性和成长因子。
In addition, astrocytes derived from the neurogenic hippocampus and SVZ, but not from the non-neurogenic spinal cord, promote proliferation and neuronal fate commitment of multipotent adult neural stem cells in culture, suggesting a role in the RMS.	此外，衍生自神经性海马回和 SVZ，而不是来自非神经性脊随的星状细胞，在培养中会促进多潜能成体神经干细胞的增生和神经命运承诺，意指在 RMS 中有所作用。
Astrocytes express a number of secreted and membrane-attached factors both in vitro and in vivo that are known to regulate proliferation and fate specification of adult neural precursors as well as neuronal migration, maturation, and synapse formation.	星状细胞在试管和活体内都表现出多个隐匿且附着在膜上的因子，而它们已知会控制成体神经前驱细胞的增生和命运特化，以及神经元移行、成熟和突触形成。
In the adult SVZ, astrocytes express Robo receptors and regulate the rapid migration of SLIT1-expressing neuroblasts through the RMS.	在成体 SVZ 中，星状细胞会表现 Robo 受体，并透过 RMS 来调节表现出 SLIT1 之神经母细胞的快速移行。
Additionally, it has been proposed that the neuroblasts themselves play a role in modulating the astrocytes through Slit-Robo interactions.	此外，也有人提出神经母细胞本身会透过裂隙-Robo 互动的方式，在调节星状细胞方面发挥作用。
In the absence of Slit, astrocytic processes do not align correctly, or create the "tubes", instead running across the migrating neurons.	缺少裂隙时，星状细胞处理就无法正确调整，或是会产生「管壁」，而不是穿过移行神经元。
Adult SVZ astrocytes also appear to release glutamate to regulate the survival of neuroblasts.	成体 SVZ 星状细胞似乎也会释放麸胺酸盐来调节神经母细胞的存活。
Unique to the adult SVZ, ependymal cells lining the ventricular wall are in close association with neural precursors and their progeny, acting like a shield to protect the "neurogenic niche", a zone in which stem cells are retained after embryonic development for the production of new cells of the nervous system.	成体 SVZ 独有的是，心室壁内衬的室管膜细胞与神经前驱细胞及其子代密切相关，有如盾牌一样保护「神经性利基」，也就是是胚胎发育后保留干细胞以便神经系统产生新细胞的区域。
Ependymal cells actively regulate neuronal fate specification of adult neural precursors through release of Noggin.	室管膜细胞会透过释放 Noggin 来主动调节成体神经前驱细胞的神经元命运特化。
Beating of the cilia of ependymal cells appears to set up concentration gradients of guidance molecules, such as cytokines TNF-α (tumor necrosis factor) and IGF-1 (insulin-like growth factor), to direct migration of neuroblasts, such as in the RMS.	室管膜细胞的纤毛拍打似乎会设定导向分子 (例如细胞激素 TNF-α (肿瘤坏死因子) 和 IGF-1 (似胰岛素生长因子)) 的浓度梯度，能够引导神经母细胞的移行，例如在 RMS 中。
Microglia also actively regulate adult neurogenesis.	神经胶质细胞也会主动调节成体神经生成。
Under basal conditions, apoptotic corpses of newly generated neurons are rapidly phagocytosed from the niche by unactivated microglia in the adult SGZ.	在基本状态下，成体 SGZ 中新产生之神经元的凋亡尸体会被未活化的小神经胶质细胞从利基快速吞噬。
Under inflammatory conditions, reactivated microglia can have both beneficial and detrimental effects on different aspects of adult neurogenesis, depending on the balance between secreted molecules with pro- and anti-inflammatory action.	在发炎状态下，视隐匿分子与促进发炎和抗发炎作用之间的平衡而定，重新活化的小神经胶质细胞可能会对成体神经生成的不同层面同时带来有益和有害的影响。
In one study, the activation of microglia and recruitment of T cells were suggested to be required for enriched environment-induced SGZ neurogenesis, suggesting a possible role in the RMS.	在一项研究中，建议需要活化小神经胶质细胞和补充 T 细胞才能浓化环境诱发的 SGZ 神经新生，意指在 RMS 中可能有所作用。
Cells in the RMS are believed to move by "chain migration".	RMS 中的细胞被认为是透过「连锁移行」移动。
These neuroblasts are connected by membrane specializations including gap junctions and adherens junctions, moving along each other towards the olfactory bulb through glial tubes.	这些神经母细胞是以包括裂隙接合和黏连结合等膜特化方式连结，会顺着彼此透过神经胶细胞管移向嗅球。
The pathway and mechanisms behind this movement are a ventriculo-olfactory neurogenic system (VONS), a glial framework, and a chemotaxic cell signalling system.	这种移动背后的途径和机制是脑室-嗅觉神经性系统 (VONS)、神经胶细胞架构和趋化性细胞传信系统。
The olfactory system is made up in part of the RMS which stretches from the subventricular zone in the wall of the lateral ventricle, through the basal forebrain, to the olfactory bulb (OB).	嗅觉系统一部分是由延伸自侧脑室壁之脑室下区的 RMS 所组成，穿过基底前脑直到嗅球 (OB)。
VONS is the name given to this pathway, and it consists of the subventricular zone, the RMS, the olfactory tract and the olfactory bulb.	VONS 是此途径的命名，而且是由脑室下区、RMS、嗅神经束和嗅球所组成。
On January 21, 2007, the Regional Specialized Meteorological Centre in Nadi, Fiji identified a tropical depression, which was given the number 08F, about 435 km (270 mi) west-northwest of Savai'i island in Samoa.	2007 年 1 月 21 日，位于斐济纳迪的区域专责气象中心发现了一个热带低压，并为其提供编号 08F，大约在萨摩亚萨瓦伊岛西北西 435 公里 (270 英哩) 处。
The depression slowly traveled towards the east-southeast for several days as the overall structure of the storm fluctuated due to diurnal variations and strong wind shear.	该低气压数天缓慢地移向东南东，同时暴风整体结构因为日变化和强烈风切而有所波动。
Around 1700 UTC on January 22, the Joint Typhoon Warning Center (JTWC) issued a Tropical Cyclone Formation Alert for the depression.	大约 1 月 22 日 17:00 UTC 时，联合台风警报中心 (JTWC) 针对这个低压发出热带气旋形成警报。
The system developed a large banding feature in the northern portion of the circulation and deep convection formed around the center of circulation.	该系统在环流的北边部分发展出大型的成带现象，并在环流中心附近形成深对流。
The depression had moved into an area of weak to moderate wind shear with favorable diffulence aloft.	这个低气压曾进入一个高空具备有利分流的弱至中度风切区域。
Later that day, gale warnings were issued for the northeastern quadrant of the system.	当天稍晚针对该系统的东北象限发出了强风警报。
Tropical Depression 08F continued to develop as an anticyclone developed above the system, enhancing the environment around it.	热带低压 08F 持续发展，同时系统上方发展出一个反气旋，因此强化了它周边的环境。
A mid-latitude trough located north of the depression was steering it towards the east.	一个位于低压北边的中纬度低压槽使它往东转向。
Early on January 24, the system became better organized and strengthened into a cyclone at 0600 UTC.	1 月 24 日一早，该系统变得结构更稳固，并在 06:00 UTC 增强成气旋。
The storm, which was named Arthur by the RSMC Nadi, began to undergo rapid intensification as the structure improved significantly.	这个由纳迪 RSMC 命名为亚瑟的风暴开始快速增强，同时结构大幅增进。
Deep convection developed around the center with strong outflow towards the north.	中心附近发展出深对流，且带有往北的强劲外流。
Several hours after becoming a cyclone, the JTWC issued their first advisory on Tropical Cyclone 09P as it traveled quickly towards the east-southeast.	成为气旋之后数小时，随着热带气旋 09P 快速移向东南东，JTWC 对它发出了第一个警示。
The quick movement was due to the influences of subtropical ridge to the north and a trough to the south.	这个快速移动是北边的副热带脊和南边的低压槽影响所造成。
Later that day, a banding eye feature began to develop as the storm intensified into a Category 2 cyclone on the Australian intensity scale.	当天稍晚，暴风增强成澳洲强度等级的 2 级气旋时，一个云卷风眼形貌开始发展。
At 1800 UTC, the JTWC assessed Arthur to have reached its peak intensity with winds of 120 km/h (75 mph 1-minute winds), the equivalent of a minimal Category 1 hurricane on the Saffir-Simpson Hurricane Scale.	18:00 UTC 时，JTWC 评估亚瑟已达到最高强度，具备 120 km/h (1 分钟风速 75 mph)，等于萨菲尔-辛普森飓风风力等级的 1 级飓风最低程度。
Early on January 25, Arthur reached its peak intensity with winds of 110 km/h (70 mph 10-minute winds) with a minimum pressure of 975 hPa (mbar) while located about 635 km (350 mi) north-northwest of Rarotonga.	1 月 25 日一早，亚瑟位在拉罗汤加北北西约 635 公里 (350 英哩) 时，以 110 km/h 的风 (10 分钟风速 70 mph) 和最低气压 975 hPa (mbar) 达到最高强度。
Shortly after peaking in intensity, Arthur began to undergo an extratropical transition and rapidly deteriorated due to strong wind shear.	在强度达到巅峰后不久，亚瑟开始经历温带气旋转换，并因为强劲的风切而迅速劣化。
The storm also began to merge with a low-level frontal boundary associated with the remnants of Tropical Cyclone Zita.	暴风也开始与残余的热带气旋思蒂关联的低层前边界合并。
The strong shear left the center of circulation partially exposed, with deep convection persisting in only the southeastern quadrant.	强劲的风切使得环流中心有一部分暴露在外，只在东南象限持续存在深对流。
In addition to the shear, dry air began to enter the system, causing it to weaken further.	除了风切之外，干空气也开始进入系统，导致它进一步减弱。
The olm is a symbol of Slovenian natural heritage.	洞螈是斯洛维尼亚自然遗址的象征。
The enthusiasm of scientists and the broader public about this inhabitant of Slovenian caves is still strong 300 years after its discovery.	在发现这种斯洛维尼亚洞穴栖息动物的 300 年后，科学家和普罗大众对于它的热情仍然不减。
Postojna Cave is one of the birthplaces of speleobiology due to the olm and other rare cave inhabitants, such as the blind cave beetle.	由于波斯托伊纳洞穴有洞螈和其他稀有洞穴栖息动物 (例如盲眼洞穴甲虫)，因此是洞穴生物学的发源地之一。
The image of the olm contributes significantly to the fame of Postojna Cave, which Slovenia successfully utilizes for the promotion of ecotourism in Postojna and other parts of Slovenian karst.	洞螈的形象对波斯托伊纳洞穴的名声大有贡献，斯洛维尼亚还成功地利用它来推广波斯托伊纳及斯洛维尼亚其他喀斯特地形的生态旅游。
Tours of Postojna Cave also include a tour around the speleobiological station – the Proteus vivarium, showing different aspects of the cave environment.	波斯托伊纳洞穴之旅也包括在洞穴生物学站 (洞螈生态馆) 周围游览，该处展示了洞穴环境的不同层面。
The olm was also depicted on one of the Slovenian tolar coins, and was the namesake of Proteus, the oldest Slovenian popular science magazine, first published in 1933.	洞螈也描绘在其中一种斯洛维尼亚托拉尔硬币上，而且与斯洛维尼亚最古老、首次出版于 1933 年的大众科学杂志《Proteus》同名。
Heavy rains from the storm affected the Philippines, causing flooding that forced 3,500 people to evacuate their houses.	暴风带来的大雨影响了菲律宾，所导致的水患迫使 3,500 人撤离家园。
This occurred after a month of heavy rainfall from several tropical cyclones in July.	这发生在 7 月时多个热带气旋带来豪雨之后的一个月。
Officials closed schools and advised small boats to remain at port.	官方关闭了学校并建议小型船只留在港口。
A vessel capsized offshore Antique Province, and its crew of 15 was rescued.	一艘船在安蒂克省翻覆，15 位船员均获救。
At least six people died due to electrocution, after downed power lines touched floodwaters.	倒塌的电力线路触及洪水后，至少六人因触电而死亡。
The storm spawned a tornado and caused landslides in Negros Oriental.	暴风酿成龙卷风，并导致东内格罗发生山崩。
The storm killed 35 people in the country and injured 22 others.	暴风在这个国家夺走 35 人的性命，还有 22 人受伤。
Damage was estimated at $3.3 million (₱172 million 2002 PHP).	损失估计为 330 万美元 (2002 年版菲律宾比索为 1 亿 7200 万)。
Milenyo was the final storm to be named by PAGASA during 2002.	Milenyo 是菲律宾大气地球物理天文服务管理局在 2002 年期间命名的最后一个暴风。
On August 17, the Hong Kong Observatory (HKO) issued standby signal number 1 due to the storm's reformation in the South China Sea.	8 月 17 日，因为暴风在南中国海重整，香港天文台 (HKO) 发出了 1 号戒备信号。
Vongfong made landfall west of the territory, although its outer rainbands spread across the region.	黄蜂在此地区的西部造成山崩，但其外围雨带遍布整个地区。
Slick roads contributed to a traffic accident in Sai Kung in which one person was killed.	湿滑道路导致西贡发生交通意外，一人因此丧生。
Rainfall in Hong Kong reached 133 mm (5.2 in) in the town of Kwai Chung.	香港的降雨在葵涌镇达到 133 毫米 (5.2 英吋)。
The rainbands also produced gusty winds; sustained winds peaked at 75 km/h (47 mph), with gusts to 110 km/h (68 mph) at the mountain peak of Tai Mo Shan.	雨带也产生阵风；持续风最高达到 75 km/h (47 mph)，且大帽山的山顶有 110 km/h (68 mph) 的阵风。
While moving ashore, Vongfong produced a storm surge of 0.48 m (1.6 ft) in Shek Pik.	黄蜂往陆上移动时，在石壁产生 0.48 公尺 (1.6 英呎) 的暴潮。
The storm downed a few trees across the territory, and a fallen branch injured one man.	暴风使此地区的多棵树倒塌，且有倾倒的树枝导致一人受伤。
Another person was injured by a damaged awning.	还有一人因为损坏的天篷而受伤。
In Hainan, the threat from Vongfong prompted officials to close the primary airport and to restrict sea traffic with Guangdong.	在海南，黄蜂的威胁促使官方关闭主要机场并禁止与广东的海上交通。
As a result, 113 flights were delayed, stranding more than 3,000 people.	113 个航班因此延误，超过 3,000 人受困。
On the island, rainfall reached as high as 240 mm (9.4 in) in Haikou over a three-day period.	在岛上，为期三天的降雨在海口高达 240 毫米 (9.4 英吋)。
On 3 February, the head of the State Emergency Service (SES) and then-Premier Joh Bjelke-Petersen toured northern Queensland to inspect damage.	2 月 3 日，国家紧急服务 (SES) 和当时的总理乔·贝尔克-彼德森前往昆士兰北部视察损害。
The government of Australia vowed to assist by providing financial and emergency services, also offering to provide aid to banana and sugar cane farmers who suffered losses as a result of Winifred.	澳洲政府誓言以提供财务和紧急服务来援助，也提议向因为温尼佛莱德蒙受损失的香蕉和甘蔗农民提供援助。
Two government helicopters were sent shortly thereafter, assessing the severity of damage, evacuating residents, and delivering food.	之后不久便派出两架政府直升机，以评估损害的严重程度、撤离居民和提供食物。
Bjelke-Petersen later expressed anger at the federal government for having increased the threshold for disaster relief before raising loans, and also stated that the Federal Minister for Primary Industry, John Kerin, had no right to accompany him on his visit to northern Queensland, only offering to discuss an offer provided that the federal government was willing to provide financial assistance.	贝尔克-彼德森之后对联邦政府在借款之前提高灾害救济的门槛表达了愤怒，也声明联邦产业部部长约翰·柯瑞恩无权陪同他前往昆士兰北部访视，且只愿意在联邦政府愿意提供财务援助的前提下讨论提议。
Approximately 500 volunteers for the SES were deployed the same day, reinstating electrical and other essential services, evacuating regional citizens, delivering bread to numerous towns, and sending 700 tarpaulins to shield roofless houses.	同一天部署了约 500 位 SES 的志工，将电力和其他必要的服务复原、撤离地方居民、为多个城镇提供面包，以及发送 700 张防水布来遮蔽无屋顶的房屋。
Rescue and relief work was hindered by high traffic on telephone networks, forcing Telecom to cease calls between Townsville and Ingham.	救援和救济工作因为电话网的高话务量而受到阻碍，迫使电信公司中止汤斯维尔和英厄姆之间的通话。
Emergency crews of the government's Department of Social Security (DSS) visited locations throughout the region, receiving damage claims, requests for monetary aid, and filings for unemployment benefits.	来自政府社会服务部 (DSS) 的紧急人员访视了整个地区的各个地点，收到了损害索偿、金钱援助的要求，以及失业给付的申请。
The Commonwealth pledged to provide $150 million in relief over a three-year period to the government of Queensland in exchange for deregulation; however, its offer was initially rejected.	澳洲联邦银行允诺向昆士兰政府提供为期三年的 1.5 亿元救济金来交换解除管制；但是其提议一开始就遭到否决。
Planes flew claims adjusters and other officials to Innisfail, establishing an insurance emergency service in the city hall, while the Insurance Council of Queensland deployed its special emergency service employees for the first time.	飞机载着理算师及其他官员前往因尼斯费尔，在市政厅设立保险紧急服务，同时昆士兰保险理事会则是首次部署了特殊紧急服务人员。
As a result of severe damage, a disaster declaration for northern regions was issued by Queensland Government on 4 February.	由于严重损害，昆士兰政府在 2 月 4 日针对北部地区发出了一则灾害声明。
The first $10 million in aid from the state government, paid by the federal government, was supplied the same day.	来自国家政府、由联邦政府支付的第一笔 1000 万元援助，就在同一天提供。
Meanwhile, the SES continued its cleanup efforts, removing debris and repairing structures.	同时，SES 持续进行清理工作，清除残骸和修复建筑物。
Looters took advantage of confusion in the days following the cyclone, striking residences throughout Innisfail.	打劫者趁着气旋发生后几天的混乱情况，入侵了因尼斯费尔各处的住宅。
By the end of the day, 2200 tarpaulins had been distributed; however, the previously-smooth relief efforts were impeded by thunderstorms in Cairns.	当天结束时已分发 2200 张防水布；但是先前很顺利的救济工作因为凯恩斯的雷雨而受到阻碍。
The Bureau of Meteorology (BoM) was subject to scrutiny in the aftermath of Winifred, and was criticized for its lack of advance warning.	澳洲气象局 (BoM) 理应密切监控温尼菲尔德的后续情况，但因为未提供预警而受到批评。
Advices and warnings were received by regional television and radio stations up to 15 minutes late following issuance.	地方电视台和电台在发出预警之后长达 15 分钟才收到建议和警示。
Winifred's sudden and unexpected turn was little-anticipated by BoM meteorologists, with employees unable to verify the cyclone's centre from the Cairns radar until only about 9:30 a.m. on 1 February, with radar error of up to 44 km (27 mi) observed.	温尼菲尔德突如其来的转向使 BoM 气象学者措手不及，因为他们的人员一直到 2 月 1 日上午约 9:30 才得以透过凯恩斯雷达确认气旋的中心，且观察到的雷达误差高达 44 公里 (27 英哩)。
However, a Flash Tropical Cyclone Advice was immediately issued shortly thereafter, reaching media outlets near noon that day.	但是，在那之后不久立即发出的紧急热带气旋通知，将近当天中午才传达至媒体管道。
Media outlets went suggested the creation of a new Tropical Cyclone Warning Centre (TCWC) in Townsville as a result, but the suggestion was dismissed, with a centre already established in Brisbane.	媒体管道因此开始建议在汤斯维尔建立新的热带气旋警报中心 (TCWC)，但是该建议并未获得考虑，因为布里斯本已经设立了一个中心。
A spokesman for the SES stated that no warning was given by the BoM at 9 a.m., with the storm's alarming approach; the Service had initially been anticipating the storm's recurvature out to sea, only to receive a flash warning hours later.	一位 SES 发言人表示，BoM 并未在上午 9 点发出任何警示，但当时暴风正步步逼近；该服务一开始预期暴风会转向出海，但是数小时后才收到紧急警报。
Rowan Kaiser of The A.V. Club gave a positive review, praising the intersecting storylines and the references to the previous season.	《影音俱乐部》的罗文·凯瑟给了正面的评价，赞许交错的故事情节以及引据前一季的内容。
"More generally, [the plot lines] show that Veronica Mars has created a strong enough world that it can support much higher levels.	「更广泛地说，[情节] 显示出《侦探小天后》创造的世界强大到足以支持更高的等级。
I have been, and still somewhat am, dubious about the pace at which this season is moving.	我过去曾 (现在仍有点) 怀疑这一季的发展步调。
But this was a great episode, even with all its density and the fact that it was essentially all setup.	但这一集非常棒，即使它是如此紧凑，而且实际上原本都是设计好的。
And it was great because it was attached to the history of the show so far." Television Without Pity gave the episode an "A".	而且它很棒，因为它连结到此影集至今的历程。 」《不留情面的电视》给这一集「A」。
Price Peterson, writing for TV.com, wrote in his episode verdict that "This episode was great, if way more grim than usual.	为 TV.com 撰稿的普莱斯·彼得森在他的影集评论中写道「这一集很棒，甚至比平常更残忍。
Between Abel's offscreen cancer death to Amelia's icy resting place…there was a real whiff of death in this episode." Complex ranked Kim Stolz's cameo on its list of "the 25 worst cameos in TV history." BuzzFeed ranked the episode forty-fifth on its list of the best Veronica Mars episodes, criticizing the Clarence Wiedman plot while writing that "we get to see some prime banter between Logan and Cliff, two of the show’s funniest characters."	从镜头外亚伯因癌症死亡，到爱米莉亚冰冷的安息之地……这一集有一股真实的死亡气息。 」《Complex》将基姆·斯托尔兹列入其「电视史上最差近的 25 个客串」名单中。 BuzzFeed 将该集列为最佳《侦探小天后》影集清单中的第四十五名，在批判克拉伦斯·威德曼情节的同时写道「我们看到了影集中最有趣的两个角色──罗根和克里夫之间一些相当优质的逗趣内容。」
The peoples known to us as the Angles, Saxons, Jutes and Frisians, began to arrive in Britain in the 5th century.	我们所知的盎格鲁人、萨克逊人、朱特人和弗里斯兰人在第 5 世纪开始抵达英国。
By 600, a number of kingdoms had begun to form in southern and eastern Britain, and by the beginning of the seventh century, southern England was almost entirely under their control.	到了 600 年，英国南部和东部开始形成数个王国，到第七世纪初时，英格兰南部几乎完全在他们的控制之下。
Tytila was a member of the Wuffingas family, the ruling dynasty of the Kingdom of the East Angles that was named after his father Wuffa.	泰提拉是沃芬加斯家族的成员之一；该家族是东盎格鲁王国的统治王朝，以他父亲沃法命名。
The Wuffingas may have been descendants of an earlier Scandinavian dynasty.	沃芬加斯家族可能是早期斯堪地那维亚王朝的后代。
Both he and his father are semi-historical figures.	他和他的父亲都是半个历史人物。
The Victorian ethnologist John Beddoe noted the similarity between the name Tytila and that of Totila, an Ostrogoth king.	维多利亚时代民族学者约翰·贝德注意到，泰利亚这个名字和东哥德国王托帝拉的名字之间有所相似。
Tytila is included in a number of different tallies.	许多不同的记录中都将泰提拉纳入其中。
The 9th century Welsh monk Nennius, in his Historia Brittonum, also lists Tytila, naming him as the father of Eni of East Anglia: '...Uffa, who begat Tytillus, who begat Eni,...' whilst relating the origin of the kings of East Anglia.	第 9 世纪威尔斯僧侣内尼厄斯在他的《不列颠人的历史》中也将泰提拉称作西盎格鲁厄尼的父亲：「...Uffa, who begat Tytillus, who begat Eni,...」，同时叙述了东盎格鲁国王发源地。
Tytila is included in an East Anglian royal tally that lists the ancestors of Ælfwald and that names many, but not all, of the early East Anglian kings.	泰提拉被纳入东盎格鲁皇家记录中；该记录列出了阿尔夫瓦德的祖先，也列出多位 (但非全部) 早期的东盎格鲁国王。
The tally, which forms part of the Anglian collection, comes from the 12th century Textus Roffensis.	该记录成为来自 12 世纪 Textus Roffensis 之《盎格鲁记载》的一部分。
In October 2016, Marvel confirmed that main cast members Clark Gregg as Phil Coulson, Ming-Na Wen as Melinda May, Chloe Bennet as Daisy Johnson / Quake, Iain De Caestecker as Leo Fitz, Elizabeth Henstridge as Jemma Simmons, Henry Simmons as Alphonso "Mack" MacKenzie, and John Hannah as Holden Radcliffe would be starring in the episode.	2016 年 10 月，漫威确认了主要剧组成员克拉克·格雷格 (饰演菲尔·考森)、温明娜 (饰演梅琳达·梅)、汪可盈 (饰演黛西·约翰森/震波女)、伊恩·德·卡斯泰克 (饰演里奥·费兹)、伊丽莎白·韩斯翠奇 (饰演洁玛·西蒙斯)、亨利·西蒙斯 (饰演艾尔方索·「麦克」·麦肯齐)，以及约翰·汉纳 (饰演霍登·瑞克里夫) 将在该集中演出。
Also revealed was the guest cast for the episode, including Jason O'Mara as Director Jeffrey Mace, Gabriel Luna as Robbie Reyes, Parminder Nagra as Senator Nadeer, Maximilian Osinski as Agent Davis, Patrick Cavanaugh as Burrows, Jose Zuniga as Eli Morrow, Kerr Smith as Joseph Bauer, James Edson as Warden Green, Ricardo Walker as Agent Prince, Sky Soleil as corrections officer, Rolando Molina as Santino, Brandon Keener as Harlan, Jermaine Jacox as ferocious watchdog, Lilli Birdsell as Lucy Bauer, Ward Roberts as Hugo, Usman Ally as Vincent and Devin Barry as producer.	同时也揭露了这一集的嘉宾阵容，包括杰森·欧玛拉 (饰演局长杰弗里·梅斯)、盖布瑞·卢纳 (饰演恶灵骑士)、帕敏德·娜格拉 (饰演参议员纳迪尔)、麦西米利安·奥辛斯基 (饰演特工戴维斯)、派崔克·卡凡纳 (饰演伯罗斯)、荷西·祖尼加 (饰演埃利·莫罗)、科尔·史密斯 (饰演乔瑟夫·鲍尔)、詹姆斯·艾德森 (饰演典狱长格林)、里卡多·沃克 (饰演特工普林斯)、史盖·索雷耶 (饰演狱警)、罗兰多·莫里纳 (饰演桑提诺)、布兰登·基纳 (饰演哈伦)、杰曼·杰考克斯 (饰演残酷的看门狗)、莉莉·伯德塞尔 (饰演露西·鲍尔)、沃德·罗伯兹 (饰演雨果)、乌斯曼·阿利 (饰演文森)，以及德文·贝瑞 (饰演制造者)。
O'Mara, Luna, Nagra, Osinski, Cavanaugh, Zuniga, Smith, Walker, Birdsell, Roberts, and Ally reprise their roles from earlier in the series.	欧玛拉、卢纳、娜格拉、奥辛斯基、卡凡纳、祖尼加、史密斯、沃克、伯德赛尔、罗伯兹和阿利都是继先前该系列影集之后再次演出其角色。
George Stephanopolous also appears in the episode, as himself.	乔治·史蒂芬诺波洛斯也在该影集中出现，饰演他自己。
The episode's prison setting was realized with a mixture of location filming at a real prison, and constructed sets.	该影集的监狱场景是以真实监狱的外景拍摄和建构场景混合制成。
The first scene shot for the episode was the heart-to-heart between Johnson and May.	该集的第一个场景镜头是强森和梅之间的交心对谈。
As big fans of Stephen King, the writers had the character Santino read a Spanish version of King's book Pet Sematary while in his jail cell.	编剧们是史蒂芬·金的超级粉丝，因此让桑提诺的角色在牢房时阅读金所写的《禁入坟场》一书的西班牙文版。
For the prop of the Darkhold, introduced in this episode, Lilla suggested that the book's cover should feature the word "Darkhold" as an ambigram, with the series' props department designing a new font to achieve this.	至于本集所介绍的黑暗神书道具，莉拉建议该书的封面应特别以对称字的方式显示「Darkhold」字样，因此影集的道具部门设计了新的字体来实现此目标。
The prop department had two weeks to create the book before it was needed for filming the episode, with the final book assembled by a bookbinder using aged, vellum pages that were filled with text and illustrations inspired by Leonardo DaVinci's Vitruvian Man.	在影集拍摄需要用到这本书之前，道具部门有两周的时间创作，而最终的书本是由装订商使用古老的牛皮纸页装订而成，页面上写满灵感来自李奥纳多·达文西之《维特鲁威人》的文字和插图。
The episode reveals that Mace became a public hero after the bombing of a United Nations meeting in Vienna, an event depicted in Captain America: Civil War.	这一集透露出，梅斯在维也纳的联合国会议爆炸案之后成了大众英雄 (此事件在《美国队长：英雄内战》中有所叙述)。
Mace was one of the many diplomats at the meeting, and was photographed saving another's life.	梅斯是会议上的众多外交人员之一，并在拯救他人性命时被拍摄到。
However, the episode does indicate that Mace may not be telling the truth about this.	但是，这一集暗示了梅斯对此可能并未吐实。
"Lockup" was first aired in the United States on ABC on October 25, 2016.	《牢狱之灾》于 2016 年 10 月 25 日在美国的 ABC 首次播映。
It began streaming on Netflix, along with the rest of the fourth season, on June 15, 2017.	它和第四季的其他内容于 2017 年 6 月 15 日开始在 Netflix 串流。
In the United States the episode received a 0.8/3 percent share among adults between the ages of 18 and 49, meaning that it was seen by 0.8 percent of all households, and 3 percent of all of those watching television at the time of the broadcast.	在美国，这一集在 18 到 49 岁的成人间获得了 0.8/3 个百分比，意即所有家户中有 0.8% 看过该集，播映时所有正在看电视的人当中则是有 3% 在收看。
It was watched by 2.30 million viewers.	有 230 万观众收看过。
Within a week of its release, "Lockup" had been watched by 4.55 million U.S. viewers, just above the season average of 4.22 million.	在上映之后的一周内，已有 455 万个美国观众看过《牢狱之灾》，刚好超过该季平均值 422 万。
Writing for The A.V. Club, Alex McCown-Levy graded the episode a 'B+', calling it "a fast-moving and fun adventure, the kind of race-against-time scenario that remains the series’ strong suit [which] played to the show’s strengths on numerous levels".	为《影音俱乐部》撰稿的艾力克斯·麦克寇恩-李维将这一集评分为「B+」，称它是「步调快且有趣的冒险，与时间赛跑这类场景仍然是这部影集的强项，在多个层级上都发挥出这部影集的优势。」
He highlighted Johnson's fight against the prisoners, and Woods' direction of that scene, as well as the heart-to-heart between Johnson and May.	他特别提到强森与受刑人的打斗、伍兹对该场景的执导，以及强森和梅之间的交心对谈。
McCown-Levy also felt "the show is having the most narratively efficient season yet, effectively balancing mission-of-the-week adventures with the longer plots", but was critical of Lucy and the low stokes of the villains.	麦克寇恩-李维也觉得「这一季是目前为止最具故事效率的节目，有效地平衡了当周任务冒险与较长的情节」，但对露西以及恶棍的戏份不足而有所批评。
Most of the skeleton is preserved, the bones still attached to each other in their original anatomical position.	大部分骨骼都保存下来，骨头仍然以原始生理结构的位置相互连接。
The tail, hind feet, and hind portion of the pelvis had eroded away before the mummy was discovered.	尾部、后腿和骨盆后部在木乃伊被发现之前就风化了。
Fossils often become flattened during fossilization, but AMNH 5060 is preserved three-dimensionally, without significant deformation.	化石通常会在化石作用期间变得扁平，但是 AMNH 5060 以立体方式保存，而且没有显著的变形。
The specimen was found lying on its back, with head and neck twisted upwards, backwards, and to the right side of the body.	这个样本被发现时为仰躺姿势，头部和颈部向上、向后扭转，并朝向身体的右侧。
Both knees are drawn forwards, while the forelimbs are outstretched.	双膝都往前，前肢则是向外延伸。
Although the tail curves upwards and forwards over the body in many dinosaur skeletons, it was probably straight in the mummy as movement would have been restricted by ossified tendons.	虽然在许多恐龙的骨骼中，尾巴会在身体上方向上并向前弯曲，但可能因为钙化的肌腱使动作受到限制，在这个木乃伊中变成直的。
Almost two-thirds of the total skin area is preserved, often with excellent preservation.	整体皮肤区域有将近三分之二保存了下来，这通常是因为使用了极佳的防腐方式。
The skin impressions are pressed tightly onto the bones, and are partially drawn into the body in between the bones.	皮肤印痕紧密地压在骨头上，而且有部分已陷入骨头之间的体内。
When discovered, skin impressions probably encased the whole skeleton, but were partially destroyed while freeing it from the surrounding rocks.	发现时，皮肤印痕可能已经包住整副骨骼，但是将它与周边岩石分离时毁损了一部分。
Skin impressions are preserved on the forelimbs, neck and throat, and the chest, as well as on the right side of the trunk.	前肢、颈部、喉部、胸口和躯干右侧上保存了皮肤印痕。
As well as the skin impressions, Sternberg noted the preservation of muscle impressions.	除了皮肤印痕以外，斯腾伯格也注记了肌肉痕迹的保存。
In 2007, paleontologist Kenneth Carpenter suggested that even impressions of inner organs are possibly preserved; this cannot be evaluated without detailed computer tomography and x-ray analyses.	2007 年，古生物学家肯尼斯·卡本特指出，甚至可能保存了内脏的痕迹；这在没有详细电脑断层摄影和 X 光分析的情况下无法鉴定。
The skin was thin and delicate in relation to the size of the animal.	与动物的尺寸相比，皮肤较薄且脆弱。
As typical for dinosaurs, the skin consisted of non-overlapping scales called tubercles.	就像一般的恐龙一样，皮肤是以称为结节的重叠鳞片组成。
Two sorts of tubercles can be distinguished.	可区别出两种结节。
Evenly distributed on the skin were the "ground tubercles", which were small, rounded scales between 1 and 3 mm (0.039 and 0.118 in) in diameter.	平均分布在皮肤上的是「底部结节」，是小型、圆形的鳞片，直径介于 1 到 3 公厘 (0.039 到 0.118 英吋) 之间。
The larger "pavement tubercles", less than 5 mm (0.20 in) in diameter, were pentagonal in shape, raised relative to the ground tubercles, and arranged in irregular clusters interrupting the surface formed by the lower ground tubercles.	较大的「铺面结节」直径小于 5 公厘 (0.20 英吋)，形状为五边形，与底部结节相比较为凸起，而且以不规则的团块排列，插在下方底部结节形成的表面中。
These clusters consisted of between twenty and several hundred individual pavement tubercles, and were bordered by intermediate tubercles which mediated in size and shape between ground and pavement tubercles.	这些团块由二十到数百个单独的铺面结节所组成，而且与大小和形状介于底部和铺面结节之间的中型结节接壤。
In the chest and abdominal region, clusters were small, oval in shape and arranged in irregular longitudinal lines.	胸部和腹部区域的团块较小，形状为椭圆形，且以不规则的纵向线条排列。
They became larger towards the sides of the trunk, where they reached 5 to 10 cm (2.0 to 3.9 in) in diameter; their shape became more irregular.	它们越靠近躯干侧边就变得越大；在躯干侧边，它们的直径达到 5 到 10 公分 (2.0 到 3.9 英吋)；它们的形状变得更不规则。
A cold front's location is at the leading edge of the temperature drop-off, which in an isotherm analysis shows up as the leading edge of the isotherm gradient, and it normally lies within a sharp surface trough.	冷锋的位置在温度下降的前缘，在等温线分析中显示为等温梯度的前缘，而且通常位在尖锐面低压槽的内部。
Cold fronts can move up to twice as fast as warm fronts and produce sharper changes in weather, since cold air is denser than warm air and rapidly lifts the warm air as the cold air moves in.	冷锋移动速度最快可达暖锋的两倍，并产生较剧烈的天气变化，因为冷空气的密度比暖空气高，而且冷空气进入时会快速抬升暖空气。
Cold fronts are typically accompanied by a narrow band of showers and thunderstorms.	冷锋通常会伴随狭窄的降雨带和雷暴。
On a weather map, the surface position of the cold front is marked with the symbol of a blue line of triangles/spikes (pips) pointing in the direction of travel, at the leading edge of the cooler air mass.	在天气图上，冷锋的表面位置是以指向行进方向的蓝色线条三角形/尖状物 (点) 符号标示，位于冷气团前缘。
Warm fronts mark the position on the Earth's surface where a relatively warm body of air has displaced colder air.	暖锋在地表上的位置是相对温暖的空气体取代较冷空气的地方。
The temperature increase is located on the equatorward edge of the gradient in isotherms, and lies within broader low pressure troughs than is the case with cold fronts.	温度上升位于等温线梯度往赤道方向的边缘，而且所在的低压槽比冷锋更宽广。
Warm fronts move more slowly than do the cold fronts because cold air is denser, and harder to displace from the Earth's surface.	暖锋移动速度比冷锋慢，因为冷空气密度较高，而且较难从地表去除。
This causes temperature differences across warm fronts to be broader in scale.	这样会导致暖锋中的温差范围更大。
The warm air mass overrides the cold air mass and temperature changes occur at higher altitudes before those at the surface.	暖气团会取代冷气团，而且在较高海拔地表的暖气团之前会发生温度变化。
Clouds ahead of the warm front are mostly stratiform and rainfall gradually increases as the front approaches.	暖锋前方的云大部分是层状云，而且降雨会随着锋面接近而逐渐增加。
Fog can also occur preceding a warm front passage.	暖锋过境的前方也可能会出现雾。
Clearing and warming is usually rapid after the passage of a warm front.	暖锋过境后通常很快会放晴且变温暖。
If the warm air mass is unstable, mixing of the warm moist air will produce thunderstorms that are embedded among the stratiform clouds ahead of the front, and after frontal passage, thundershowers may continue.	如果暖气团不稳定，混合暖湿空气后会产生嵌入在锋面前方层状云之间的雷暴，而且在冷锋过境之后，雷雨可能会持续。
On weather maps, the surface location of a warm front is marked with a red line of half circles pointing in the direction of travel.	在天气图上，暖锋的表面位置是以指向行进方向的红色线条半圆形来标示。
An occluded front is formed during the process of cyclogenesis when a cold front overtakes a warm front.	冷锋取代暖锋时，在气旋生成过程中会形成囚锢锋。
The cold and warm fronts curve naturally poleward into the point of occlusion, which is also known as the triple point in meteorology.	冷锋和暖锋会自然地向两极方向弯曲进入囚锢点，在气象学上也称为三相点。
It lies within a sharp trough, but the air mass behind the boundary can be either warm or cold.	它位于尖锐的低压槽内，但是边界后面的气团可能是暖空气，也可能是冷空气。
In a cold occlusion, the air mass overtaking the warm front is cooler than the cool air ahead of the warm front, and plows under both air masses.	在冷囚锢中，取代暖锋的气团温度会低于暖锋前方的冷空气，而且会从两个气团下方穿越。
In a warm occlusion, the air mass overtaking the warm front is not as cool as the cold air ahead of the warm front, and rides over the colder air mass while lifting the warm air.	在暖囚锢中，取代暖锋的气团温度不会低于暖锋前方的冷空气，而且会从冷气团上方行经，同时抬升暖空气。
A wide variety of weather can be found along an occluded front, with thunderstorms possible, but usually their passage is associated with a drying of the air mass.	囚锢锋沿途可能会发现多种天气变化，而且可能有雷暴，但是其过境通常会连带使气团变干燥。
Though silvertip sharks are quite mobile, they exhibit fidelity to certain areas, with reports of territorial behavior.	虽然白边真鲨相当具机动性，它们经常出现在特定区域，而且有地域行为的相关报导。
They are usually encountered alone or in pairs.	它们通常被发现是单独或成对。
Small groups of adult females have been seen in deep water.	深水区曾经发现小群的成年雌性。
Individual silvertip sharks behave very aggressively towards one another, and many are heavily scarred.	白边真鲨个体会互相表现出非常具攻击性的行为，而且许多都带有严重的伤痕。
They are also reported to dominate Galapagos sharks (C. galapagensis) and blacktip sharks (C.	据报导，在争夺食物时，它们的地位也高于同样大小的直翅真鲨 (C. galapagensis) 和黑边鳍真鲨 (C.
limbatus) of equal size when competing for food.	limbatus)。
This shark sometimes forms mixed-species aggregations with grey reef sharks.	这种鲨鱼有时候会与灰礁鲨组成混种群体。
Rainbow runners (Elagatis bipinnulata) have been observed rubbing against silvertip sharks, using the sharks' rough skin to scrape off parasites.	会跑的彩虹 (双带鲹) 曾被观察到在白边真鲨身上摩擦，利用鲨鱼的粗糙表皮来刮除寄生虫。
They sometimes follow marine mammals such as bottlenose dolphins (Tursiops sp.) in open water, and are themselves followed by pilot fish (Naucrates ductor).	它们在开放海域有时会跟在海洋哺乳类后方，像是瓶鼻海豚 (宽吻海豚属)，而本身则会被领航鱼 (黑带鲹) 跟随。
Like the grey reef shark, the silvertip shark sometimes perform a stereotypical threat display if pursued by divers, warning that it is prepared to attack.	就像黑礁鲨一样，如果白边真鲨遭到潜水员追赶，有时候会做出典型的威胁表现，警告它准备要攻击了。
The display begins with the shark accelerating away to a distance of 15 m (49 ft), before turning and charging towards the perceived threat.	这种表现一开始是鲨鱼加速游离至 15 公尺 (49 英呎) 距离处，然后转向并冲向感知到的威胁。
At a distance of two body lengths, the shark brakes, turns broadside, drops its pectoral fins, gapes its jaws, lowers the posterior two-thirds of its body, and "shivers".	在两个身长的距离处，鲨鱼会煞车、转向侧面、降低胸鳍、张大嘴巴、将身体的后三分之二降低，然后「抖动」。
The last two elements of this display are unique to this species; the "shivering" may serve to emphasize its white fin markings.	这种表现的最后两种元素是此种类专有的；「抖动」可能是为了强调它的白色鱼鳍斑纹。
If the diver persists, the shark may rapidly close in and slash with its upper teeth.	如果潜水员持续，鲨鱼可能会快速接近并用上排牙齿挥击。
The diet of the silvertip shark consists primarily of bony fishes, such as grouper, mackerel, tuna, escolars, lanternfish, flyingfish, wrasses, and soles.	白边真鲨的食物主要包括硬骨鱼，像是石斑鱼、鲭鱼、鲔鱼、油鱼、灯笼鱼、飞鱼、隆头鱼和比目鱼。
Eagle rays, smaller sharks, and octopus are occasionally taken.	燕魟、小型鲨鱼和章鱼也偶尔会被捕捉。
Larger sharks tend to be more sluggish and take more benthic prey.	大型鲨鱼较为迟钝，而且会捕捉较深海的猎物。
The differently shaped dentition in their upper and lower jaws allows them to tackle large prey, gripping and sawing off chunks of flesh with violent twists and turns.	它们的上下颚有不同形状的齿列，使它们能够对付大型猎物，透过猛烈扭转来咬住和撕下肉块。
Silvertip sharks have been observed swimming around the periphery of groups of feeding sharks of other species, occasionally dashing in to steal food.	白边真鲨曾被观察到在其他种进食中的鲨鱼群周边游动，偶尔冲进去偷取食物。
This species often approaches ships, as they are attracted to certain artificial, low-frequency sounds.	此种类经常会接近船只，因为它们会受到特定人工低频声音所吸引。
From the 1990s onward an increasing amount of literature on Canadian comics has appeared, in both official languages.	1990 年代起开始出现越来越多有关加拿大漫画的文学，且两种官方语言都有。
Books such as Guardians of the North (1992) and Invaders from the North (2006) appeared by comics historian John Bell, who became senior archivist at Library and Archives Canada in Ottawa.	漫画历史学家约翰·贝尔出版的《北方守护者》(1992) 和《来自北方的侵略者》(2006) 等书籍，他之后成为渥太华的加拿大图书和档案系统的资深档案保管员。
American magazine Alter Ego ran a special issue on Canadian comics in 2004.	美国杂志《Alter Ego》在 2004 年刊登了有关加拿大漫画的特刊。
Bart Beaty and Jeet Heer have been writing about comics academically and professionally, and regularly have articles educating the public on comics published in newspapers such as the National Post and the Boston Globe, as well as comics and literary magazines.	巴特·贝蒂和杰特·赫尔一直都在学术上及专业上撰写与漫画相关的内容，而且经常在报纸上发表向大众介绍漫画的文章，像是《国家邮报》和《波士顿环球报》，还有漫画与文学杂志。
Canadian feminist scholars such as Mary Louise Adams, Mona Gleason, and Janice Dickin McGinnis have done research into the anti-crime comics campaigns of the late 1940s and 1950s, from the point of view of the moral panic and social and legal history of the era, and the sociology of sexuality.	玛莉·路易丝·亚当斯、莫娜·格里森和珍妮丝·狄金·麦金尼斯等加拿大女性主义学者，曾经从 1940 年代晚期和 1950 年代的道德恐慌和社会及法律历史，以及性社会学的观点，对该年代的反犯罪漫画运动做过研究。
There are ten nursery schools, sixteen primary schools, and two secondary schools in Ashton-under-Lyne as of 2019.	截至 2019 年，Ashton-under-Lyne 有 10 幼稚园、16 所小学和 2 所中学。
In 2006, the council began a scheme to develop education in the borough by opening six new secondary schools.	在 2006 年，委员会开始一项计划，目标是开设 6 所新中学来发展新区的教育。
Among the changes proposed as part of the £160 million scheme was the closure of Hartshead Sports College and Stamford Community High School, to be replaced by a 1,350-pupil academy with 300 sixth-form members.	在一项 1.6 亿英镑的计划之一，提议的变化之一是关闭 Hartshead Sports 学院及 Stamford 社区高中，改为设立可招收 1,350 名学生的学院，其中包含 300 名预科学生。
In 2007, Hartshead Sports College was placed on "special measures" after it failed to achieve its targets for General Certificate of Secondary Education results and was criticised by Ofsted for its teaching standard.	2007 年，Hartshead 体育学院因未达成中等教育普通证书目标而对这所学校采取「特别措施」，并且其教学标准遭受教育标准局 (Ofsted) 批评。
The new academy opened in September 2008, a year ahead of schedule.	新学院于 2008 年 9 月开始招生，比原计划提前一年。
It was named New Charter Academy (now Great Academy Ashton) after its sponsor, the New Charter Housing Trust.	在获得 New Charter Housing Trust 赞助商资助后，该学院命名为 New Charter Academy (现称为 Great Academy Ashton)。
The other secondary school in the town is St Damian's RC Science College, which was founded in 1963, and provides education for 800 pupils aged 11–16.	该镇有另一所中学是 St Damian's RC Science College，成立于 1963 年并可招收 800 名 11–16 岁的学生。
As part of the Building Schools for the Future project, a replacement school building was built by Carillion and opened in May 2011.	作为在兴建未来学校 (Building Schools for the Future) 专案中的一项计划，Carillion 建造了一座替代校舍并于 2011 年 5 月开放。
Dale Grove School has 60 pupils and offers education for pupils aged 5–16 with special needs.	Dale Grove 学校有 60 名学生，为 5–16 岁有特殊需求的学生提供教育。
Ashton Sixth Form College is a centre for further education with 1,650 pupils aged 16–18.	Ashton 预科学院是一所延续教育学院，有 1,650 名 16–18 岁学生。
Tameside College also provides opportunities for further education and operates in Ashton-under-Lyne, Droylsden, and Hyde.	Tameside 学院也提供延续教育机会，并在 Ashton-under-Lyne、Droylsden 及 Hyde 营运。
Founded in 1954 and expanded in 1957 and 1964, it was originally called Ashton College.	该所学院成立于 1954 年并于 1957 及 1964 年扩建，原先的校名为 Ashton College。
In the early 19th century, Ashton-under-Lyne's growth made it necessary to find a new water supply.	在 19 世纪初，Ashton-under-Lyne 因持续发展而要寻找新的供水系统。
Before the introduction of piped water the town's inhabitants drew water from wells and the nearby River Tame.	在采用自来水之前，该镇的居民的水源来自水井及附近的 River Tame 河。
Industrial processes had, however, polluted the river and the wells could not sustain a rapidly expanding population.	然而，工业制程使河流遭到污染，而且水井不足以供给迅速成长的人口。
From 1825, a private company was responsible for piping water from reservoirs, but there were still many homes without proper drainage or water supply.	从 1825 年开始，一家民营公司负责利用水库管道供水，但是仍然有许多家庭没有适当的排水或供水。
Waste management is now co-ordinated by the local authority via the Greater Manchester Waste Disposal Authority.	废水处理现在由当地主管机关 Greater Manchester Waste Disposal Authority 负责协调。
The first power station in Tameside was built in 1899, providing power for the area.	Tameside 的第一座发电站建立于 1899 年，为该地区提供电力。
Ashton's Distribution Network Operator for electricity is United Utilities; there are no power stations in the town.	Ashton 的配电网运营商是 United Utilities (联合公用事业集团)；而该镇没有发电站。
United Utilities also manages the drinking and waste water.	United Utilities 也负责管理饮水及废水。
In 1999, the Minneapolis Library Board issued a report entitled Outlook Twenty Ten identifying the changing needs of each of the system's libraries.	1999 年，Minneapolis 图书馆理事会发布一份题为 Outlook Twenty (2000 年展望) 的报告，确定该系统的每间图书馆持续变化的需求。
Deeming Nokomis crowded and outdated, the report proposed three options.	该报告认为 Nokomis 拥挤且过时，因此提出三种选项。
Option A proposed combining Nokomis with the nearby Roosevelt Community Library in a 25,000-square-foot (2,323 m²) space and closing both Nokomis and Roosevelt.	选项 A 提议将 Nokomis 与附近的 Roosevelt 社区图书馆合并在 25,000 平方英呎 (2,323 m²) 的空间中，并且关闭 Nokomis 及 Roosevelt。
This would have allowed the library to operate out of a state-of-the-art building at an undecided location.	这将允许图书馆设立在未决定地点的最先进建筑物处营运。
Option B recommended moving Nokomis to a different site without moving Roosevelt.	选项 B 建议将 Nokomis 搬迁到另一地点，但不需要搬迁 Roosevelt。
The new library there would have been 18,000 square feet (1,672 m²).	新建于该处的图书馆有 18,000 平方英呎 (1,672 m²)。
Option C included capital improvements to Nokomis, such as replacing carpeting, signs, and the roof.	选项 C 包括改善 Nokomis 的基础建设，例如更换地毯、标志和屋顶。
A 2003 update to the report identified a project start date of 2007, with full closure in 2008 and a reopening in 2009.	该报告于 2003 更新，确定专案开始日期为 2007 年，于 2008 年完全结案并于 2009 年重新开放。
In 2007, the Minneapolis City Council appropriated a portion of its $1.35 billion 2008 budget for improvements to Nokomis and Northeast Community Library. $5.2 million of the $7 million project came from the city; Hennepin County put forward $1.8 million for environmental additions to the library and other features.	2007 年，明尼亚波利斯 (Minneapolis) 市议会拨款的 13.5 亿美元 2008 年预算中，有一部分用于改善 Nokomis 及 Northeast 社区图书馆。 700 万美元中的 520 万美元来自该城市；Hennepin 郡拨出 180 万美元用于增加图书馆的环境设施及其他布置。
The new building was designed by KKE Architects with significant input from a citizen advisory committee.	全新的建筑物由 KKE 建筑师事务所设计，并且得到公民咨询委员会的全力投入。 .
Ebert, Inc. was hired as the general contractor.	Ebert, Inc. 公司获聘为总承包商。
The old building's last day of operation was September 12, 2009, at which time it was reported in the Longfellow/Nokomis Messenger that the renovated library was expected to reopen sometime in the fall of the next year.	旧建筑物的最后营运日是 2009 年 9 月 12 日，并且会在该日期于 Longfellow/Nokomis Messenger 上报导，翻新后的图书馆预计将在明年秋天重新开放。
During the construction, patrons were encouraged to make use of nearby libraries including East Lake, Roosevelt, Washburn, and Southdale.	施工期间，鼓励读者使用附近的图书馆，包括 East Lake、Roosevelt、Washburn 及 Southdale。
The renovation included expanding the size of the library about 4,300 square feet (399 m²) to a total size of 17,340 square feet (1,611 m²).	翻新工程包括将图书馆面积扩大约 4,300 平方英呎 (399 m²)，总面积为 17,340 平方英呎 (1,611 m²)。
A new lighting system that automatically adjusts based on the levels of light within the building was installed, along with a geothermal heating apparatus.	安装的全新照明系统可根据建筑物内的光量自动调整，并且已安装地热供暖设备。
Other environmentally friendly interior features included carpeting constructed from recycled fibers and low-flow faucets.	其他环保的内饰布置包括再生纤维制成的地毯和低流量水龙头。
A stormwater management system and native planting were utilized on the building's exterior.	建筑物外部使用了雨水管理系统及原生植物。
The library once again incorporated materials from Mankato Kasota Stone, making the difference between the old and new exterior surfaces virtually indistinguishable.	图书馆再次采用来自 Mankato Kasota Stone 的材料，使新旧外观之间的差异几乎无法区别。
The teen section was significantly expanded and a new ground-floor meeting room was built.	已大幅扩大青少年区，并且在一楼建造新的会议室。
The children's section was also subject to improvements, gaining new nature-inspired design elements including bird light fixtures.	儿童区也有改善，并且设计灵魂采用自然元素，包括鸟形灯具。
Orthogenesis, also known as orthogenetic evolution, progressive evolution, evolutionary progress, or progressionism, is the biological hypothesis that organisms have an innate tendency to evolve in a definite direction towards some goal (teleology) due to some internal mechanism or "driving force".	定向进化 (也称为渐进进化、演进进步或进步主义) 是生物学假设，生物体会，会由于一些内部机制或「驱动力」，而具有朝某目标 (目的论) 的明确方向进化的先天倾向。
According to the theory, the largest-scale trends in evolution have an absolute goal such as increasing biological complexity.	根据理论，最大规范的进化趋势具有绝对目标，例如增加生物复杂性。
Prominent historical figures who have championed some form of evolutionary progress include Jean-Baptiste Lamarck, Pierre Teilhard de Chardin, and Henri Bergson.	支持某种形式进化进步的著名历史人物包括 Jean-Baptiste Lamarck、Pierre Teilhard de Chardin 和 Henri Bergson。
The term orthogenesis was introduced by Wilhelm Haacke in 1893 and popularized by Theodor Eimer five years later.	「定向进化」 一词由 Wilhelm Haacke 于 1893 年提出，五年后由 Theodor Eimer 推广。
Proponents of orthogenesis had rejected the theory of natural selection as the organizing mechanism in evolution for a rectilinear model of directed evolution.	「定向进化」的支持者否决天择论，认为这是定向进化直线模型的进化组织机制。
With the emergence of the modern synthesis, in which genetics was integrated with evolution, orthogenesis and other alternatives to Darwinism were largely abandoned by biologists, but the notion that evolution represents progress is still widely shared.	随着结合遗传学与进化论的现代演化综论出现，生物学家很大程度上已舍弃定向进化和其他达尔文主义的替代理论，但是进化论代表进步的观点仍然受到广泛分享。
The evolutionary biologist Ernst Mayr made the term effectively taboo in the journal Nature in 1948, by stating that it implied "some supernatural force".	进化论生物学家 Ernst Mayr 在 1948 年的 Nature 杂志上将此词有力地定为禁忌，指出此词暗示「某种超自然力量」。
The American paleontologist George Gaylord Simpson (1953) attacked orthogenesis, linking it with vitalism by describing it as "the mysterious inner force".	美国古生物学家 George Gaylord Simpson (1953) 抨击定向进化，将此词描述为「神秘的内在力量」，并且与生机论相提并论。
Modern supporters include E. O.	现代支持者包括 E. O.、
Wilson and Simon Conway Morris, while museum displays and textbook illustrations continue to give the impression of progress in evolution.	Wilson 和 Simon Conway Morris，而博物馆的展示和教科书插图继续散播进化进步的印象。
The philosopher of biology Michael Ruse notes that in popular culture evolution and progress are synonyms, while the unintentionally misleading image of the March of Progress, from apes to modern humans, has been widely imitated.	生物学哲学家 Michael Ruse 指出，在流行文化中，进化和进步是同义词，而从猿类到现代人类的「人类进化图」(March of Progress) 的无意误导形象被广泛模仿。
The term orthogenesis (from Ancient Greek ὀρθός orthós, "straight", and γένεσις génesis, "origin") was first used by the biologist Wilhelm Haacke in 1893.	生物学家 Wilhelm Haacke 于 1893 年首先使用定向进化 (orthogenesis   取自古希腊语 ὀρθός orthós「 straight」及 γένεσις génesis「origin」) 一词。
Theodor Eimer was the first to give the word a definition; he defined orthogenesis as "the general law according to which evolutionary development takes place in a noticeable direction, above all in specialized groups".	Theodor Eimer 是第一位定义此词的人；他将定向进化定义为「进化发展往明显方向发生的通则，尤其在特殊族群」。
In 1922, the zoologist Michael F. Guyer wrote:	1922 年，动物学家 Michael F. Guyer 写道：
[Orthogenesis] has meant many different things to many different people, ranging from a mystical inner perfecting principle, to merely a general trend in development due to the natural constitutional restrictions of the germinal materials, or to the physical limitations imposed by a narrow environment.	[定向进化] 对许多不同人的意义不同，从神秘的内在至善原则，到仅仅是由于肧芽材料的天生型态限制的总体发展趋势，或由于狭窄环境所造成的物理限制。
In most modern statements of the theory, the idea of continuous and progressive change in one or more characters, due according to some to internal factors, according to others to external causes-evolution in a "straight line" seems to be the central idea.	在大多数现代理论的陈述中，由于根据内部因素、根据其他外部进化缘由，使一或多种特征「直线」演化而持续及渐进变化的想法似乎成为中心思想。
According to Susan R. Schrepfer in 1983:	根据 Susan R. Schrepfer 于 1983 年的说法：
Orthogenesis meant literally "straight origins", or "straight line evolution".	定向进化字面上的意义是「直线起源」 或「直线进化」。
The term varied in meaning from the overtly vitalistic and theological to the mechanical.	此词的含意涵盖公然地生机论和神学到机械化。
It ranged from theories of mystical forces to mere descriptions of a general trend in development due to natural limitations of either the germinal material or the environment ...	范围从神秘力量理论到仅仅描述由于胚芽材料或环境的天然限制的总体发展趋势 ...
Few details are known about Smart's time at St Luke's Hospital for Lunatics.	关于 Smart 在圣卢克疯子医院 (St Luke's Hospital for Lunatics) 的时间，人们知之甚少。
He was admitted to St Luke's on 6 May 1757 as a "Curable Patient".	于1757 年 ５ 月 ６ 日，他被视为「可治愈的病人」送进圣路加医院 (St Luke)。
It is possible that Smart was confined at Newbery's behest over old debts and a poor relationship that existed between the two; Newbery had previously mocked Smart's immorality in A Collection of Pretty Poems for the Amusement of Children six Foot High.	Newbery 有可能因旧债及而且两者之间的不良关系，而将 Smart 束之高阁；Newbery 曾在 A Collection of Pretty Poems for the Amusement of Children six Foot High 中嘲笑 Smart 的不道德行为。
Regardless of Newbery's exact reasons, there is evidence suggesting that Newbery's admittance of Smart into the mental asylum was not based on madness.	无论 Newbery 的确切动机会何，有证据表明，Newbery 接纳 Smart 进入精神病院不是因为发疯。
To have Smart admitted, Newbery probably provided a small bribe, although bribes were against St Luke's policy.	Newbery 可能有支付一小笔贿赂要求收容 Smart，即使贿赂行为违背圣路加医院 (St Luke) 的政策。
There is little information about Smart's condition during his stay at St Luke's, possibly because Battie's denied his patients from being visited, including by their own family members.	几乎没有关于 Smart 在圣路加医院 (St Luke) 住院期间的病情方面的资讯，原因可能是 Battie 拒绝任何人探视他的病人，即使家人也不允许探视。
One of the few records that survive of Smart's time at St Luke's was an entry in St Luke's Minute Book, which read:	Smart 在圣路加医院 (St Luke) 生活期间的很少数记录之一是在圣路加医院 (St Luke) 的议事录中的一笔项目，内容中写道：
12 May 1758	1758 年 5 月 12 日
Dr. Battie having acquainted this Committee that Christopher Smart (who was admitted on the 6th day of May 1757) continues disordered in his Senses notwithstanding he has been admitted into this Hospital above 12 Calendar Months and from the present Circumstances of his Case there is not Suffit.	Battie 向委员会通报，Christopher Smart (于 1757 年 5 月 6 日入院) 入院虽然已超过 12 个日历月，但是感官上仍然精神错乱，而且从目前的状况观察，没有足够的
reason to expect his speedy Recovery And he being brought up and examined.	理由可预期他迅速康复，并且正接受治疗与检查。
Ordered.	命令。
That he be discharged and that Notice be sent to his Securities to take him away.	他出院，并且通知寄他的担保人带他离开。
During Smart's confinement at St Luke's, not even other doctors were allowed to see Smart unless they had received personal permission from Battie.	Smart 拘禁在圣路加医院 (St Luke) 期间，其他医师也须获得 Battie 的个人许可，否则不准为 Smart 看诊。
It was improbable that Smart could have left the asylum without being released by Battie.	未获 Battie 释放的情况下，Smart 毫无可能离开精神病院。
Even if Smart would have attempted to obtain release via legal means, the rules for subpoenaing release would have been almost impossible to follow based on the system that Battie had in place, which isolated the individual from all contact.	即使 Smart 曾尝试采取合法途径获得释放，然而依据 Battie 制定的体制，个人须与所有联络人隔离，因此几乎不可能遵循传唤释放规则。
Eventually, Smart was deemed "incurable" and would not have been released by the hospital but for its lack of funds.	最后，Smart 视为「无法治愈」，若非资金不足，否则无法出院。
There is little information about how and why Smart was released from asylum, but his daughter claimed: "He grew better, and some misjudging friends who misconstrued Mr Newbery's great kindness in placing him under necessary & salutary restriction which might possibly have eventually wrought a cure, invited him to dinner and he returned to his confinement no more." What is known about the actual events is that John Sherratt, Christopher Smart's friend, believed that Smart's confinement was unfair and wanted to negotiate Smart's release.	关于 Smart 如何从精神病院出院及其原因的资讯很少，但他的女儿声称：「他的状况好转，但有些朋友的判断有误，而将这件事误解为 Newbery 先生非常仁慈，在必要的情况下将 Smart 安置在精神病院且最终有可能治愈，而且邀请他共进晚餐，而不再被拘禁。」然而，已知的实际情况是，Christopher Smart 的朋友 John Sherratt 相信，Smart 被拘禁并不公平，且希望协商要求 Smart 出院。
In January 1763, he met with a parliamentary committee to discuss the issue of individuals falsely imprisoned and abuses that they would receive in asylums.	1763 年 1 月，他会见专责委员会，讨论个人遭非法拘禁以及在精神病院受到虐待的问题。
In particular, Sherratt argued that many were admitted for habitual intoxication, which undermined Battie's and other asylum keeper's reputations.	尤其，Sherratt 提出，许多人因习惯性醉酒而入院，这损害了 Battie 和其他精神病院管理员的声誉。
A finding by the parliamentary committee released 27 January 1763 bolstered Sherratt's chances to release Smart.	专责委员会于 1763 年 1 月 27 日公布的调查结果增加 Sherratt 释放 Smart 的机会。
Carl Michael Bellman is the central figure in Swedish song, known for his 1790 Fredman's Epistles and his 1791 Fredman's Songs.	Carl Michael Bellman 是瑞典歌曲的核心人物，以 1790 年的《Epistle 82 Fredman's Epistles》和 1791 年的《 Fredman's Songs》闻名。
He played the cittern, accompanying himself as he performed his songs at the royal court.	他在皇家宫廷表演时用随身携带的西特琴演奏他的歌曲。
Jean Fredman is a fictional character and the supposed narrator in Bellman's epistles and songs, based on a real watchmaker of Bellman's Stockholm.	Jean Fredman 是根据 Bellman 的 Stockholm 真实钟表匠改编的虚构人物，也是 Bellman 贝尔曼的使徒书信和歌曲中的叙述者。
The epistles paint a picture of the demimonde life of the city during the eighteenth century, where strong drink and beautiful "nymphs" like Ulla Winblad create a rococo picture of life, blending classical allusion and pastoral description with harsh reality.	这些使徒书信描绘了十八世纪这座城市的半神生活，在那里，烈性酒和像 Ulla Winblad 这样的美丽「仙女」创造了一幅洛可可式的生活图景，将古典典故和田园描述与残酷的现实融为一体。
Epistle 82 has been recorded by Fred Åkerström, where it forms the title track of his third album of Bellman interpretations, as well as by Sven-Bertil Taube.	《Epistle 82》由 Fred Åkerström 录制，并成为他的第三张专辑《Bellman interpretations》的主打歌，以及由 Sven-Bertil Taube 主唱。
It has been translated into English by Eva Toller.	这首歌已被 Eva Toller 翻译成英文。
The song has featured in at least 16 Swedish films from 1929 onwards.	从 1929 年开始，这首歌至少在 16 部瑞典电影中出现过。
Lars Lönnroth, writing in Svenska Dagbladet, suggests that the "spring" in the Epistle was in fact not a stream in summer meadows but a fashionable spa, perhaps Djurgårsbrunn on what was in Bellman's time the edge of Stockholm.	Lars Lönnroth 在 Svenska Dagbladet 中写道，书信中的「spring」实际上不是夏季草地上的一条小溪，而是时尚的温泉，在 Bellman 时代，Djurgårsbrunn 也许在 Stockholm 的边缘。
Henrik Mickos, in the 2011 Bellman lecture, discussed what the "pimpinella" of the first verse might be, concluding that salad burnet (Sanguisorba minor) was quite likely, given it was known at the time as pimpinella, and was more common in Sweden then than it is now.	Henrik Mickos 在2011年的 Bellman演讲中，讨论了第一节的「茴芹 (pimpinella)」可能是什么，结论是很有可能是小地榆种子 (salad burnet) (小地榆种子 (Sanguisorba minor))，因为当时称为茴芹 (pimpinella)，并且在当时的瑞典比现在更常见。
Mickos dismisses the possibility that it was aniseed (Pimpinella anisum), which was used to flavour brännvin but not as the song has it ("red wine and pimpinella") a wine-based punch.	Mickos 驳斥了它是大茴香 (aniseed) (Pimpinella anisum) 的可能性，它被用来调味 brännvin，但不是像这首歌（「红酒和茴芹」）那样以葡萄酒为基底的潘趣酒。
Writing for The Boston Globe, Michael Andor Brodeur argued that while the show may feel like an advertisement for emoji, "the most satisfying part is watching self-proclaimed enthusiasts of the form stumble through their symbols once the difficulty is ever-so-slightly notched up....watching so much get lost in translation feels like a win.	Michael Andor Brodeur 为《波士顿环球报》(The Boston Globe) 撰稿，他认为，虽然这个节目可能感觉像是表情符号的广告，但「最令人满意的部分是，一旦难度越来越高，就会看到自称是这种形式的狂热者步步艰辛地理解他们的符号......看着这么多东西在翻译中迷失，感觉就像是一场胜利。
In terms of ratings, the series' first two episodes debuted to 336,000 and 322,000 respective viewers, with a 0.10 and 0.09 18–49 rating respectively.	在收视率方面，该剧的前两集分别以 336,000 名和 322,000 名的观众首次亮相，收视率分别为 0.10 和0.09 18-49。
The episode followed up on the plot introduced in the final instalment of the second season in which a probe from an unknown alien race attacks Earth.	这一集延续了第二季最后一集中引入的情节，其中来自未知外星种族的探测器袭击了地球。
A number of new sets and costumes were required, with preparations beginning for some departments up to three weeks before filming began.	一些部门在拍摄开始前三周就开始准备所需的一些新的布景和服装。
One change which was made was a new outfit for T'Pol, with costume tests taking place a week before filming began.	其中一项改变是为 T'Pol 穿上新衣服，服装测试在拍摄开始前一周进行。
The redesign was because of studio executives wanting the show to appeal more to the 18–49 male demographic.	重新设计是因为电影公司行政制片人希望该节目更能吸引 18-49 岁的男性受众。
The production team looked to the mid-series boost that the introduction of Seven of Nine provided on Star Trek: Voyager and sought for Enterprise to appeal to that demographic in the same manner.	制片团队着眼于《星际争霸战：重返地球》(Star Trek: Voyager) 中推出的《九之七》(Seven of Nine) 所提供的系列中期提升，并寻求《企业号》(Enterprise) 以同样的方式吸引这群受众。
Kate O'Hara of New York Magazine later joked in reference to the change, "Women of the future will certainly choose to wear tight, uncomfortable, skin-tight catsuits!"	《纽约杂志》(New York Magazine) 的 Kate O'Hara 后来提到此变化时开玩笑说，「未来的女性一定会选择穿紧密、不舒服、皮肤紧密的猫服！」
"The Xindi" was seen as a new pilot by executive producers Brannon Braga and Rick Berman, who also wrote the episode.	《The Xindi》被执行制片人 Brannon Braga 和 Rick Berman 视为新的领航员，他们也写了这一集。
Braga said "We were re-establishing an Enterprise that was going to be a little bit different this year, so we had to think of it in those terms." They felt the best way to do this was to immediately reveal the Xindi to the audience, and to give the MACOs something to do in order to introduce them as well.	Braga 说：「我们正在重建《企业号》(Enterprise)，今年会有点不同，所以我们必须从这些角度来考虑」。他们认为最好的方法是立即向观众展示《The Xindi》，并让 MACO 做一些事情进行介绍。
He called it a "big episode" as they sought to set up the rest of season.	这一集试图设置本季的其余部分，所以 Braga 称这是「大插曲」
The shoot began on June 26, 2003, with the expectation that it would take nine days (as opposed to the usual seven) to complete.	于 2003 年 6 月 26 日开始拍摄，预计需要九天（而不是通常的七天）才能完成。
One of the special effects on the episode used ground Styrofoam which had been painted blue and processed through a wood chipper.	该集的特效之一使用研磨的聚苯乙烯发泡塑料，该发泡塑料被漆成蓝色并使用木屑切割机加工而成，
It was used to represent the mineral Trellium-D within the mine.	被用来代表矿井内的矿物 Trellium-D。
However, the ground Styrofoam stuck to the actors' shoes and costumes and ended up being spread throughout the Paramount lot where the series was filmed.	然而，研磨的聚苯乙烯发泡塑料黏在演员的鞋子和服装上，最终遍布整个拍摄该剧集的派拉蒙片厂。
It would turn up in unexpected places on set for the rest of the series, and was found in among the sets as they were being dismantled after the end of season four.	在剧集的其余部分，它将出现在片场意想不到的地方，并在第四季结束后被拆除时在布景中被发现。
"The Xindi" featured several actors who would go on to recur in their roles throughout the third season of Enterprise.	《The Xindi》中出现了几位演员，他们在整个《企业号》(Enterprise) 第三季中反覆出现。
These included the MACO marines under the command of Major Hayes, played by Steven Culp.	其中包括 Major Hayes 少校 (Steven Culp 饰演) 指挥的 MACO 海军陆战队。
At the time of his appearance in "The Xindi", he felt that he did not have any characterisation to work with.	在《The Xindi》中出场时，他觉得自己没有任何人物刻画可言。
During the production of his second episode, "The Shipment", Culp read an article in the Los Angeles Times about a troubled youth who joined the military and in serving in the Iraq War had found himself.	在他的第二集《The Shipment》的制片过程中，Culp 在《洛杉矶时报》(Los Angeles Times) 上读到一篇文章，讲述了一个陷入困境的年轻人加入军队并在伊拉克战争中服役时发现自我。
After discussing it with the director, this became the basis for the character.	在与导演讨论之后，这成为了角色的基础。
Daniel Dae Kim made his first of three appearances in "The Xindi" as Corporal Chang; he had previously appeared as Gotana-Retz in the Voyager episode "Blink of an Eye".	Daniel Dae Kim 在《The Xindi》中首次出场，饰演张下士 (Corporal Chang)。他之前曾在《重返地球》(Voyager) 的《Blink of an Eye》一集中以 Gotana-Retz 的身份出现。
The band were afforded more time to record than previous endeavors, and were listening to music such as Jawbreaker, Bad Religion and Lagwagon, which influenced the album.	乐队比以前努力有更多的时间来录制，并且正在听Jawbreaker、Bad Religion和Lagwagon等音乐，这些音乐影响了专辑。
For production duties, the band worked with Mark Trombino, who provided additional piano and keyboards on Dude Ranch.	对于制片职责，乐队与 Mark Trombino 合作，后者在 Dude Ranch 提供了额外的钢琴和键盘。
The trio picked him based on his work he had done on Jimmy Eat World's Static Prevails (1996). The group spent time trying to amuse Trombino, to no avail.	三人根据他在 Jimmy Eat World 的 Static Prevails (1996) 的表现而选择他。这群人花时间试图逗乐 Trombino，但无济于事。
Hoppus' sister, Anne Hoppus, described Trombino as very quiet during the sessions.	Hoppus 的妹妹安妮·Anne Hoppus 形容 Trombino 在会议期间非常安静。
Trombino, in a retrospective piece about the album, mentioned that he was "excited, but also nervous and intimidated.	Trombino 在一篇关于这张专辑的回顾文章中提到他「很兴奋，但也很紧张和害怕。
I felt weird that there were these guys who had sold way more records than I had ever sold and I'm sitting in the producer’s chair telling them what to do." Dude Ranch was recorded Big Fish Studios in Rancho Santa Fe, California in December 1996.	我觉得很奇怪，有这些家伙卖出的唱片比我卖的唱片多得多，我坐在制作人的椅子上告诉他们该怎么做。 」Dude Ranch 于 1996 年 12 月在加利福尼亚州 Rancho Santa Fe 录制了《Big Fish Studios》。
Big Fish was a converted guesthouse which had just survived a wildfire months before.	Big Fish 是一家经过改建的民宿，几个月前刚刚在野火中幸存下来。
However, the gloomy atmosphere did not faze Blink-182 at all, and what was a tragedy to local individuals became fodder for jokes for the group.	然而，阴郁的气氛丝毫没有让 Blink-182 感到沮丧，对当地人来说是一个悲剧，却成为乐团笑话的素材。
Bassist Mark Hoppus had just bought a new video camera and he filmed stunts with guitarist Tom DeLonge on the burnt landscape in spare time.	贝斯手 Mark Hoppus 刚刚买了一台新的摄影机，他在业余时间与吉他手 Tom DeLonge 一起在燃烧的风景中拍摄特技。
Despite this, Trombino was impressed by their work ethic: "They were the most business-centric band I'd ever seen at that point.	尽管如此，Trombino 还是对他们的职业道德印象深刻：「他们是我当时见过的最商业优先的乐队。
They had their shit together."	他们一起吃了屎。 」
Despite the creative boom while writing lyrics for the album, all three members of Blink-182 faced setbacks while recording Dude Ranch.	尽管在为专辑写歌词时创意源源不绝，但 Blink-182 的所有三名成员在录制《Dude Ranch》时都遇到了挫折。
DeLonge was having vocal problems and spent much time recording and re-recording vocal tracks, and Hoppus realized he too was having difficulty singing after losing his voice during a one-off Christmas concert.	DeLonge 的声音有问题，花了很多时间录制和重新录制声乐曲目，Hoppus 意识到他在独场圣诞音乐会上失声后也很难唱歌。
Hoppus realized the magnitude of the situation and cancelled the final week of recording in December 1996.	Hoppus 意识到情况的严重性，并于 1996 年 12 月取消了最后一周的录制。
He quit smoking in order to take care of his voice, which was stressed due to lack of vocal warm-ups, full days of vocal tracks, and the strain of singing for "Dammit", which was accidentally written just outside his vocal range.	他戒烟是为了照顾自己的嗓音，由于缺乏声乐热身，整天的声乐曲目以及为「Dammit」唱歌的压力而受到压力，「Dammit」意外地写在他的音域之外。
Meanwhile, Raynor had to record his drum tracks while still in his wheelchair, the result of injuries sustained at the signing party.	与此同时，Raynor 由于在签名会上受伤而不得不在轮椅上录制他的鼓声。
He would wheelchair up to the drum set and scoot onto the drum throne and play," remembered Trombino in a later interview.	「他会坐到鼓台上，然后蹑手蹑脚地坐在鼓座上玩，」Trombino 在后来的一次采访中回忆道。
"I got the sense that [the band] were bummed." Aside from the recording, the band spent time playing Crash Bandicoot and "reading the articles from the shelves and shelves of Playboys that the studio had thoughtfully provided." The group ate lunch nearly each day at Sombrero, a local Mexican restaurant namedropped in "Josie", and Chinese for dinner from Encinitas' Pick Up Stix.	「我感觉到 [乐队] 很沮丧」。除了录音之外，乐队还花时间演奏 Crash Bandicoot，并「阅读工作室精心提供的书架上文章和花花公子」。这群人几乎每天都在 Sombrero 吃午餐，Sombrero 是一家以「Josie」命名的墨西哥当地餐厅，还有 Encinitas 的 Pick Up Stix 的中式晚餐。
It would be January 1997 until the band would be able to wrap up sessions for Dude Ranch, eventually amounting to five weeks of recording.	直到 1997 年 1 月，乐队才能够完成 Dude Ranch 专辑，最终相当于五周的录制。
For the final touches, Unwritten Law frontman Scott Russo donated a few vocal tracks to "Josie", and Trombino let Blink-182 record a couple of jokes between songs using a sound-effects machine he owned.	在收尾工作中，Unwrite Law 的主唱 Scott Russo 献出几首曲目给向「Josie」，Trombino 让 Blink-182 使用他拥有的音效机在几首歌曲之间录制了笑话。
Plunketts Creek is in the West Branch Susquehanna River drainage basin, the earliest recorded inhabitants of which were the Susquehannocks.	Plunketts Creek 位于萨斯奎哈纳河西支 (West Branch Susquehanna River) 河流域，其中萨斯奎汉诺克斯 (Susquehannocks) 族群是最早记录的居民。
Their numbers were greatly reduced by disease and warfare with the Five Nations of the Iroquois, and by 1675 they had died out, moved away, or been assimilated into other tribes.	由于疾病和与易洛魁五国的战争，他们的数量大幅减少，到 1675 年，他们已经灭绝，搬走或被同化到其他部落。
The West Branch Susquehanna River valley was subsequently under the nominal control of the Iroquois, who invited displaced tribes, including the Lenape (Delaware) and Shawnee to live in the lands vacated by the Susquehannocks.	萨斯奎哈纳河西支河谷随后在易洛魁联盟 (Iroquois) 的名义控制之下，易洛魁联盟邀请流离失所的部落，包括莱纳佩族 (Lenape) (德拉瓦州) 和肖尼族 (Shawnee) 居住在萨斯奎汉诺克族腾出的土地上。
The French and Indian War (1754–1763) led to the migration of many Native Americans westward to the Ohio River basin.	法国和印第安人战争（1754 年至 1763 年）导致许多美洲原住民向西迁移到俄亥俄河流域。
On November 5, 1768, the British acquired the New Purchase from the Iroquois in the Treaty of Fort Stanwix, including what is now Plunketts Creek.	1768 年 11 月 5 日，英国在《斯坦威克斯堡条约》(Treaty of Fort Stanwix)中从易洛魁联盟手中收购了新买点，包括现在的普朗克提溪 (Plunketts Creek)。
The first settlement along the creek by European colonists took place between 1770 and 1776.	欧洲殖民者沿着小溪的第一个定居点发生在 1770 年至 1776 年之间。
Plunketts Creek is named for Colonel William Plunkett, a physician, who was the first president judge of Northumberland County after it was formed in 1772.	普朗克提溪 (Plunketts Creek) 以医生 William Plunkett 上校的名字命名，他是诺森伯兰郡 (Northumberland County) 在 1772 年成立以来的第一任首席法官。
During conflicts with Native Americans, he treated wounded settlers and fought the natives.	在与美洲原住民的冲突中，他治疗受伤的定居者并与当地人作战。
Plunkett led a Pennsylvania expedition in the Pennamite-Yankee War to forcibly remove settlers from Connecticut, who had claimed and settled on lands in the Wyoming Valley also claimed by Pennsylvania.	Plunkett 在宾那迈与扬基之战 (pennamite-yankee wars) 中领导宾夕法尼亚州探险队，强行将定居者从康涅狄格州驱逐出去，这些定居者主张并定居在怀俄明河谷 (Wyoming Valley) 的土地上，宾夕法尼亚州也声称拥有主权。
For his services, Plunkett was granted six tracts of land that totaled 1,978 acres (800 ha) on November 14, 1776, although the land was not actually surveyed until September 1783.	由于他的服务，Plunkett 在 1776 年 11 月 14 日获得了六块土地，总面积为 1,978 英亩（800 公顷），尽管直到 1783 年 9 月才实际勘测了这片土地。
Plunkett's land included the creek's mouth, so Plunketts Creek was given his name.	Plunkett 的土地包括小溪的河口，所以普朗克提溪 (Plunketts Creek) 以他的名字命名。
He died in 1791, aged about 100, and was buried in Northumberland without a grave marker or monument (except for the creek that bears his name).	他于 1791 年去世，享年约 100 岁，被埋葬在诺森伯兰郡 (Northumberland)，没有墓碑或纪念碑（以他的名字命名的小溪除外）。
Lycoming County was formed from Northumberland County in 1795.	莱康明县 (Lycoming) 于1795年从诺森伯兰郡成立。
When Plunketts Creek Township was formed in Lycoming County in 1838, the original name proposed was "Plunkett Township", but Plunkett's lack of active support for the American Revolution some years earlier had led some to believe his loyalty lay with the British Empire.	当 Plunketts Creek Township 于 1838 年在莱康明县成立时，最初提议的名称是「Plunkett Township」，但 Plunkett 几年前未积极支持美国革命，导致一些人认为他的忠诚在于大英帝国。
The lingering suspicion of his loyalist sympathies led to the proposed name being rejected.	对他的忠诚同情挥之不去的怀疑导致提议的名字被拒绝。
Naming the township for the creek rather than its namesake was seen as an acceptable compromise.	用其同名命名小溪 (而不是该镇) 视为可接受的折衷方案。
In 1832, John Barbour built a sawmill on Loyalsock Creek near the mouth of Plunketts Creek.	1832 年，约翰·巴伯 (John Barbour) 在 Plunketts Creek 河口附近的Loyalsock Creek上建造了一家锯木厂。
This developed into the village of Barbours Mills, today known as Barbours.	这发展成为 Barbours Mills 村，现今称为 Barbours。
In the 19th century, Barbours had several blacksmiths, a temperance hotel, post office, many sawmills, a school, store and wagon maker.	在 19 世纪，Barbours 有几家铁匠铺、一家不卖酒的旅馆、邮局、许多锯木厂、一所学校、商店和马车制造商。
In 1840, a road was built north from Barbours along Plunketts Creek, crossing it several times.	1840 年，从 Barbours 沿着 Plunketts Creek 向北修建了一条道路，多次穿过。
Rubidium was discovered in 1861 by Robert Bunsen and Gustav Kirchhoff, in Heidelberg, Germany, in the mineral lepidolite through flame spectroscopy.	1861 年，年由 Robert Bunsen 和 Gustav Kirchhoff 在德国海德堡利用火焰光谱法在矿物锂云母中发现铷。
Because of the bright red lines in its emission spectrum, they chose a name derived from the Latin word rubidus, meaning "deep red".	由于铷发射光谱中有鲜艳的红色线条，因为选择了源自拉丁语 rubidus 的名字，意思是「深红色」。
Rubidium is a minor component in lepidolite.	铷是锂云母中的次要成分。
Kirchhoff and Bunsen processed 150 kg of a lepidolite containing only 0.24% rubidium oxide (Rb₂O).	Kirchhoff 和 Bunsen 加工了 150 千克仅含有 0.24% 氧化铷 (Rb₂O) 的锂云母。
Both potassium and rubidium form insoluble salts with chloroplatinic acid, but those salts show a slight difference in solubility in hot water.	钾和铷都与氯铂酸 (chloroplatinic acid) 形成不溶性盐，但这些盐在热水中的溶解度略有不同。
Therefore, the less soluble rubidium hexachloroplatinate (Rb₂PtCl₆) could be obtained by fractional crystallization.	因此，藉由分级结晶可以获得可溶性较低的六氯铂酸铷 (Rb₂PtCl₆)。
After reduction of the hexachloroplatinate with hydrogen, the process yielded 0.51 grams of rubidium chloride for further studies.	用氢气还原六氯铂酸盐的过程产生 0.51 克氯化铷，用于进一步研究。
Bunsen and Kirchhoff began their first large-scale isolation of caesium and rubidium compounds with 44,000 litres (12,000 US gal) of mineral water, which yielded 7.3 grams of caesium chloride and 9.2 grams of rubidium chloride.	Bunsen 和 Kirchhoff 开始用 44,000 升（12,000 美制加仑）矿泉水首次大规模分离铯和铵化合物，产生 7.3 克氯化铯和 9.2 克氯化铵。
Rubidium was the second element, shortly after caesium, to be discovered by spectroscopy, just one year after the invention of the spectroscope by Bunsen and Kirchhoff.	继铯之后不久，就在 Bunsen 和 Kirchhoff 发明光谱仪一年后，铷是采用光谱学发现的第二种元素。
The two scientists used the rubidium chloride to estimate that the atomic weight of the new element was 85.36 (the currently accepted value is 85.47).	两位科学家使用氯化铷来估计新元素的原子量为 85.36（目前公认的值为 85.47）。
They tried to generate elemental rubidium by electrolysis of molten rubidium chloride, but instead of a metal, they obtained a blue homogeneous substance, which "neither under the naked eye nor under the microscope showed the slightest trace of metallic substance".	他们试图利用电解熔融的氯化铷来产生元素铷，但他们获得的不是金属，而是蓝色均匀的物质，「在肉眼下和显微镜下都没有显示出丝毫的微量金属物质」。
They presumed that it was a subchloride (Rb	他们推测这是一种次氯化物 (Rb
₂Cl); however, the product was probably a colloidal mixture of the metal and rubidium chloride.	₂Cl)；然而，该产物可能是金属和氯化铷的胶体混合物。
In a second attempt to produce metallic rubidium, Bunsen was able to reduce rubidium by heating charred rubidium tartrate.	在第二次尝试产生金属铷时，Bunsen 能够藉由加热烧焦的酒石酸铷来减少铷。
Although the distilled rubidium was pyrophoric, they were able to determine the density and the melting point.	虽然蒸馏出的铷是发火性，但他们能够确定密度和熔点。
The quality of this research in the 1860s can be appraised by the fact that their determined density differs by less than 0.1 g/cm³ and the melting point by less than 1 °C from the presently accepted values.	19 世纪 60 年代，这项研究的品质可以通过以下事实来评估：经判定的密度与目前接受的值相差小于 0.1 g/cm³，熔点相差不到 1°C。
The slight radioactivity of rubidium was discovered in 1908, but that was before the theory of isotopes was established in 1910, and the low level of activity (half-life greater than 10¹⁰ years) made interpretation complicated.	在 1908 年发现铷有轻微放射性，但这是在 1910 年同位素理论建立之前所发现，低程度的活性（半衰期大于 10¹⁰ 年）使解释变得复杂。
The now proven decay of ⁸⁷Rb to stable ⁸⁷Sr through beta decay was still under discussion in the late 1940s.	20 世纪 40 年代末所讨论，⁸⁷Rb透过 beta 衰变而衰变到稳定的 ⁸⁷Sr，现在已得到证实。
Rubidium had minimal industrial value before the 1920s.	铷在 1920 年代之前具有最低限度的工业价值。
Since then, the most important use of rubidium is research and development, primarily in chemical and electronic applications.	从那时起，铷最重要的用途是研究和开发，主要用于化学和电子应用。
The history of the tea processing corresponds intimately with the role that tea played in Chinese society and the preferred methods of its consumption in ancient Chinese society.	茶叶加工的历史与中国古代社会茶叶所扮演的角色及其首选的消费方式密切相关。
Variations of these processing techniques are still used in modern tea processing albeit being far more mechanized.	这些加工技术的变体仍然用于现代茶叶加工，尽管机械化程度要高得多。
The ancient Chinese society first encountered the tea plant in what is now southern China and processed it as another medicinal herb for use in Chinese herbology.	中国古代社会首先在现在的中国南方遇到茶树，并将其加工成另一种药草，用于中草药学。
The processing technique used to process fresh tea leaves was to immediately steam the fresh tea leaves and dry them for preservation, which is likely the most ancient Chinese form of tea leaf processing.	用于加工新鲜茶叶的加工技术是立即蒸新鲜茶叶并干燥保存，这可能是中国最古老的茶叶加工形式。
This processing method was perfected near the end of the Han Dynasty (206 BCE-220 CE) and produced a dried tea that would be classified today as "green tea" and quite similar to modern Japanese sencha.	这种加工方法在汉朝末期（西元前 206 年至西元 220 年）已臻至完美，并生产出一种干茶，今天被归类为「绿茶」，与现代日本煎茶非常相似。
For consumption, dried tea leaves were either decocted with water around with other herbs, or ground into a powder to be taken straight, or in a liquid in the manner of matcha.	食用时，干茶叶可用水与其他草药一起调制，也可以直取研磨成粉末，或以抹茶的方式在液体中。
With the increase of tea's use in Chinese herbology, production methods changed, where the processed green tea leaves were not immediately dried after steaming.	随着中国草药学中叶愈来愈广泛使用茶，生产方法发生了变化，其中加工过的绿茶叶在蒸煮后立即干燥。
Rather the steamed tea leaves were first pulverized into a paste form, with the paste then formed in moulds and slowly dried into brick tea, a technique well described by Lu Yu in his work The Classic of Tea.	相反，蒸熟的茶叶首先被粉碎成糊状，然后糊状物在模具中形成并慢慢干燥成砖茶，这是陆羽在他的作品「茶经」中详细描述的技术。
Tender leaves and leaf buds were generally not used, as older mature tea leaves were preferred for tea production.	通常不使用嫩叶和叶芽，因为较老的成熟茶叶是茶叶生产的首选。
Some tea bricks were also produced from mature whole leaves, which typically required the use of a cooked rice slurry (米湯) to bind the tea brick together.	一些茶砖也是由成熟的整片叶子制成的，这通常需要使用煮熟的米浆（米汤）将茶砖黏合在一起。
The preference of producing tea in brick form possibly stems from the fact that it can be more easily transported and stored.	生产砖砌茶叶的偏好可能源于可以更容易地运输和储存的事实。
The use of steam in fixation (殺青) of tea leaf enzymes is an important step in processing tea, with the leaves quickly cooled down and then undergoing further processing.	使用蒸青（杀青）茶叶酶是加工茶叶的重要步骤，过程中叶子迅速冷却，然后进行进一步加工。
The less tightly controlled methods of it in the past resulted in the creation of "yellow tea" when the tea leaves were over-steamed for fixation or were not quickly spread out, doused with water and cooled.	当茶叶被过度蒸青或未迅速摊开，用水浇灭并冷却时，过去不太严格控制的方法导致产生「黄茶」。
Although green tea was the most popular in Lu Yu's time, he personally considered yellow tea to be superior to green.	虽然陆羽时代绿茶最受欢迎，但他个人认为黄茶优于绿茶。
Even when the leaves were quickly cooled, if they are left in piles (渥堆) for too long before processing, the leaves will begin to undergo microbial fermentation to produce "post-fermented tea".	即使叶子快速冷却，如果在加工前叶子叠成堆（渥堆）太久，叶子也会开始经历微生物发酵而产生「发酵后茶」。
This technique is somewhat similar to composting, albeit tightly controlled, and still used in the production of Liu'an tea (安徽六安籃茶) and was more recently introduced for the production of the "ripe" type pu-erh tea.	这种技术有点类似于堆肥，尽管受到严格控制，并且仍然用于生产安徽六安茶（安徽六安篮茶），并且最近被引入用于生产「成熟」型普洱茶。
The production of tea in brick forms and their storage also resulted in another type of post-fermented tea, which was produced by aging.	砖状茶叶的生产和储存也导致采用陈放所产生的另一种类型黑茶 (post-fermented tea)。
The long transport and storage times of the day unwittingly allowed the tea bricks to undergo prolonged exposure to the elements and to various microflora, which resulted in the aging, oxidation, and fermentation of green brick teas.	一天中漫长的运输和储存时间无意中使茶砖长时间暴露于元素和各种微生物群落中，导致绿砖茶的老化、氧化和发酵。
A brick of green tea that had been stored and aged into post-fermented tea was charred over charcoal to rid it of the layer of detritus, dust, and shiny multicoloured growths before being broken down into a powder, cooked, and then consumed.	已经储存并陈放成发酵后茶的绿茶砖在木炭上烧焦，以清除碎屑、灰尘和闪亮的多色生长物，然后被分解成粉末、煮熟，然后食用。
By the end of Tang Dynasty (618-907CE) green, yellow, and post-fermented tea was commonly used in China and moved from purely being used in herbology to becoming a beverage drunk for pleasure.	到唐朝末期（西元 618-907 年），绿茶、黄茶和黑茶在中国被普遍使用，并从纯粹草药用途转变为饮料。
New Directions' director Will Schuester (Matthew Morrison) suspects that cheerleading coach Sue Sylvester (Jane Lynch) has been colluding with rival glee clubs, and visits the Jane Addams Academy for girls recently released from juvenile detention.	《New Directions》的总监 Will Schuester (Matthew Morrison 饰) 怀疑啦啦队教练 Sue Sylvester (Jane Lynch 饰) 一直在与竞争对手的欢乐俱乐部勾结，并造访 Jane Addams Academy 学院，为最近从少年拘留所释放的女孩提供服务。
When their club director Grace Hitchens (Eve) reveals the extent of the school's under-funding, Will invites her club to perform in the McKinley High auditorium.	当他们的俱乐部总监 Grace Hitchens (Eve 饰) 透露学校资金不足的程度时，Will 邀请她的俱乐部在 McKinley 高中礼堂表演。
Will is intimidated by their opposition, but Rachel (Lea Michele) assures him that the girls are using the power of "hairography"—frequent, dramatic hair-tossing—to distract from the fact their singing and dancing ability is limited. Will purchases wigs for New Directions and has them utilize hairography themselves, performing a mash-up of "Hair" and "Crazy in Love".	Will 被她们的反对吓倒了，但 Rachel (Lea Michele 饰) 向他保证，女孩们正在利用「发型」的力量，这使头发遭受频繁、戏剧性的折腾，但可用来分散她们的歌唱和舞蹈能力有限的注意力。 Will 为《New Directions》购买假发，并让它们自己使用发型，进行「头发」和「疯狂的爱情」的混搭。
Dalton Rumba (Michael Hitchcock), glee club director at Haverbrook School for the Deaf, feels slighted by the invitation Will extended to the Jane Addams Academy, and arranges for his own club to also perform at McKinley High.	Dalton Rumba (Michael Hitchcock 饰) 是哈弗布鲁克聋人学校的欢乐俱乐部主任，他对 Will 向 Jane Addams 学院发出的邀请感到轻视，并安排自己的俱乐部也在 McKinley 高中演出。
His club duets with New Directions on John Lennon's "Imagine", and Will realizes that the new mash-up and hairography routine is not working.	他的俱乐部与《New Directions》进行 John Lennon 的「Imagine」二重唱，Will 意识到新的混搭和发型不起作用。
He removes it from the club's set-list, replacing it with a performance of "True Colors".	他将其从俱乐部的赛程表中删除，取而代之的是「True Colors」的表演。
Unbeknownst to Will, Sue reveals two songs from New Directions' line-up for sectionals to Grace and Dalton, suggesting they have their own clubs perform them to gain an edge in the competition.	Will 不知道的是，Sue 向 Grace 和 Dalton 透露了《New Directions》的两首歌曲，暗示他们有自己的俱乐部表演，以在比赛中占据优势。
Quinn (Dianna Agron) begins to doubt her decision to give her baby to Will's wife Terri (Jessalyn Gilsig), and re-considers her stance on raising the baby with Puck (Mark Salling) instead of Finn (Cory Monteith).	Quinn (Dianna Agron 饰) 开始怀疑她把孩子交给 Will 的妻子Terri (Jessalyn Gilsig 饰) 的决定，并重新考虑她与派 Puck (Mark Salling 饰) (而不是 Finn (Cory Monteith 饰)) 一起抚养孩子的立场。
She tells Terri she wants to keep the baby, but in an effort to change her mind, Terri's sister Kendra (Jennifer Aspen) has Quinn babysit her three unruly sons.	她告诉 Terri 她想保住孩子，但 Terri 的妹妹 Kendra (Jennifer Aspen 饰) 为了她的改变主意，于是让 Quinn 照顾她的三个不守规矩的儿子。
Quinn invites Puck to babysit with her and the two bond, however when Quinn discovers that Puck spent the evening sexting his ex-girlfriend Santana (Naya Rivera), she re-commits to having the baby adopted, believing her daughter deserves a better father.	Quinn 邀请 Puck 与她和两人一起照看孩子，然而当 Quinn 发现 Puck 花了一整晚的时间与他的前女友 Santana (Naya Rivera 饰) 发生性关系时，她再次承诺收养孩子，相信她的女儿应该有更好的父亲。
Kurt (Chris Colfer) gives Rachel a make-over, ostensibly to help her attract Finn, but in reality attempting to sabotage her chances with him.	Kurt (Chris Colfer 饰) 给 Rachel 改头换面，表面上是为了协助她吸引 Finn，但实际上却试图破坏俩人相处的机会。
Finn is unimpressed with Rachel's new look before telling her he remembered having the conversation with Kurt about what he liked in girls.	Finn 对 Rachel 的新造型并不感兴趣，然后告诉她，他记得和 Kurt 谈论过他喜欢的女孩类型。
Rachel confronts Kurt, stating that even if he is in love with Finn, she will always have a better chance "because [she's] a girl".	Rachel 质问 Kurt 特，说即使他爱上了 Finn，她也总会有更好的机会，「因为她是个女孩」。
But Kurt tells her that they are both kidding themselves: Finn is in love with Quinn and nothing will change that.	但 Kurt 特告诉她，他们都在开玩笑：Finn 爱上了 Quinn，没有什么能改变这一点。
"Hairography" was written by series creator Ian Brennan, and directed by Bill D'Elia.	《Hairography》由系列创作者 Ian Brennan 编剧，Bill D'Elia 执导。
Recurring characters who appear in the episode are glee club members Brittany (Heather Morris), Santana Lopez (Rivera), Mike Chang (Harry Shum Jr.) and Matt Rutherford (Dijon Talton), Terri's sister Kendra Giardi (Aspen), Kendra's husband Phil (Michael Loeffelholz), and their triplet sons (Aidan, Ethan and Ben Freedman).	剧集中反覆出现的角色是欢乐俱乐部成员 Brittany (Heather Morris 饰)、Santana Lopez (Rivera 饰)、Mike Chang (Harry Shum Jr. 饰)、Matt Rutherford (Dijon Talton 饰)、Terri's sister Kendra Giardi (Aspen 饰)、Kendra's husband Phil (Michael Loeffelholz 饰) 和他们的三胞胎儿子 (Aidan、Ethan和 Ben Freedman 饰)。
Hitchcock guest-stars as rival glee club director Dalton Rumba, and rapper Eve plays another club director, Grace Hitchens.	Hitchcock 客串出演竞争对手欢乐俱乐部总监 Dalton Rumba，饶舌歌手 Eve 饰演另一位俱乐部总监 Grace Hitchens。
So You Think You Can Dance contestants Katee Shean, Kherington Payne and Comfort Fedoke appear as members of Grace's club.	因此，《You Think You Can Dance》的参赛者 Katee Shean、Kherington Payne 和 Comfort Fedoke 以 Grace 俱乐部的成员之姿出现。
Eve was contracted to appear in two episodes of Glee, having been offered the role of Grace after Whitney Houston declined to appear.	在 Whitney Houston 拒绝出演后，Eve 被签约出演两集《欢乐合唱团》，获得 Grace 的角色。
Discussing her casting, Eve stated: "I got asked and I'd heard the buzz about the show.	在谈到她的选角时，Eve 说：「我被问到，我听到了关于这部剧的各种异论。」
SH-58 was first commissioned some time between March 1, 1930 and December 1, 1931.	SH-58 在 1930 年 3 月 1 日至 1931 年 12 月 1 日之间首次投入使用。
The original extent of the route was much shorter than the present highway.	路线的原始范围比现在的高速公路短得多。
In 1931, SH-58 was a dirt road extending from SH-8 east of Fairview north to Ringwood.	1931 年，SH-58 是一条从 Fairview 以北延伸到 Ringwood 的 SH-8 的土路。
Prior to receiving the SH-58 designation, this section of road was part of US-164 and the first SH-13.	在获得 SH-58 指定之前，这段路是 US-164 和第一条 SH-13 的一部分。
On May 29, 1930, AASHO approved an extension of US-60 that replaced US-164.	1930 年 5 月 29 日，AASHO 批准了 US-60 的延期，取代了 US-164。
When US-60 replaced US-164 through the area, it was changed to the more westerly route it takes in the present day.	当 US-60 取代 US-164 通过该地区时，它被改为今天更向西的路线。
The section of old U.S. highway that no longer had a designation became SH-58.	不再有名称的旧美国高速公路部分成为 SH-58。
Throughout the 1930s, SH-58 was expanded in both directions.	在整个 1930 年代，SH-58 双向都有扩展。
The first addition to the highway came during the first half of 1932, when the highway was extended north to Helena.	高速公路的第一次扩建是在 1932 年上半年，当时高速公路向北延伸至 Helena。
No east–west highway existed at this point yet, leading to a spur end.	此时还没有东西向高速公路，导致支线末端。
The highway was extended to the south, replacing SH-44, to Canton on March 29, 1937. SH-58 was extended north to the Kansas state line sometime between April 1937 and April 1938.	1937 年 3 月 29 日，高速公路向南延伸，取代 SH-44，通往坎顿 (Canton)。 SH-58 在 1937 年 4 月至 1938 年 4 月的某个时候向北延伸至堪萨斯州 (Kansas) 线。
This final extension brought SH-58's northern section to its present-day termini, and no major changes to the northern section have occurred since.	最后的延伸使 SH-58 的北段成为现在的终点站，此后北段没有发生重大变化。
SH-58's southern section was first established on October 16, 1945, when SH-54 was given a new alignment further to the west; its old alignment was redesignated as SH-58.	SH-58 的南段最初建立于 1945 年 10 月 16 日，当时 SH-54 被赋予了进一步向西的新路线；它的旧路线被重新命名为 SH-58。
The original routing of SH-58's southern section began at US-277 in Cyril, continued west through Apache, and turned north at the present-day western intersection of with SH-19.	SH-58 南段的原始路线始于西里尔 (Cyril) 的 US-277，继续向西穿过阿帕奇，并在今天与 SH-19 的西部交叉口向北转弯。
SH-58 continued north along its present alignment to Hydro, where it ended at US-66/SH-1.	SH-58 继续向北沿着目前的路线延行至海德罗 (Hydro)，并在此处以 US-66 / SH-1 结束。
In 1955, SH-19 was established through southern Caddo County, taking over the east–west section of SH-58.	1955 年，建造的 SH-19 通过卡多郡 (Caddo County) 南部，衔接 SH-58 的东西向路段。
Thus, SH-58 was truncated to where it intersected with SH-19 (the present day western end of their concurrency).	因此，SH-58在与SH-19相交的位置处 (现在并行的西端) 截断。
SH-58 was extended to its present terminus north of Hydro the next year.	第二年，SH-58 被延长到海德罗 (Hydro) 以北的现在终点站。
The highway was further extended in 1964, bringing the southern terminus to its present location near Medicine Park.	高速公路于 1964 年进一步延伸，将南部终点站带到现在的 Medicine Park 附近。
No further routing changes have occurred since then.	此后，没有进一步的路线更改。
Live at Wembley was filmed at the London's Wembley Arena show of the Dangerously in Love Tour, Beyoncé's first international solo tour, on November 10, 2003.	《Live at Wembley》于 2003 年 11 月 10 日在伦敦温布利体育馆 (Wembley Arena) 的《危险爱情之旅》(Dangerously in Love Tour) 演出中拍摄，这是 Beyoncé (碧昂斯) 的首场国际个人巡演。
The tour supported her debut solo album, Dangerously in Love (2003).	这次巡演成为她首张个人专辑《Dangerously in Love》(2003) 的最佳宣传。
Most of the songs on Live at Wembley originate from that album, but it also contains a medley of past songs by her former group Destiny's Child and two soundtrack singles: "Work It Out" and "Summertime".	《Live at Wembley》的大部分歌曲都源自那张专辑，但也包含了她前乐队 Destiny's Child 过去的歌曲和两首原声带单曲：《Work It Out》和《Summertime》。
The second disc of Live at Wembley contains three previously unreleased studio recorded songs, including a cover of Rose Royce's "Wishing on a Star", and one remix each of "Crazy in Love", "Baby Boy" and "Naughty Girl".	《Live at Wembley》的第二张唱片包含三首以前未发行的录音室录制的歌曲，包括翻唱 Rose Royce 的《Wish on a Star》，以及混音版《Crazy in Love》、《Baby Boy》和《Naughty Girl》。
Behind-the-scenes footage can be also seen on the DVD.	在 DVD 上也可以看到幕后花絮。
The concert audio was mixed by Rick Camp, the same engineer who mixed at the concert venues.	音乐会音讯由 Rick Camp 混音，他是在音乐会场地混音的工程师。
It is uncommon for mix engineers to specialize in both live and recorded mixing.	混音工程师专门从事现场混音和录音混音并不常见。
For Camp, "Mixing Beyoncé is a pleasure because she's a real singer and makes it easy.	对于 Camp 来说，「与 Beyoncé 混音是一种乐趣，因为她是一位真正的歌手，并且轻松自在。
There is hardly an overdub on this project — it's 95 percent live Beyoncé." He further talked about the collaboration with Beyoncé with Mix magazine, saying: "In my 22 years of mixing, I've never come across anyone who could deliver like she does: vocally and her ability to do a show.	这项现场工作几乎没有过度配音，是 95% 的现场 Beyoncé」。他进一步谈到了与 Beyoncé 与《Mix》杂志的合作，他说：「在我 22 年的混音生涯中，我从未遇到过任何能像她一样美声和秀场表演的能力俱佳的人。
I've seen this young woman run across a 60-foot stage, hit every note and never miss a thing.	我见过这位年轻女子跑过 60 英尺高的舞台，每个音符完美诠释，从不错过任何细节。
And that makes my job so much easier."	这让我更轻松完成工作。 」
On stage, Beyoncé was backed by several male and female dancers performing choreography during the show.	在舞台上，Beyoncé 在演出期间获得几位男女舞者倾力合作编舞与表演。
DJ Diamond who served as a DJ during the performances and a backing band provided the music.	DJ Diamond 在演出期间担任 DJ，并由一支后援乐队提供音乐。
The performance starts with footage of the crowd during the concert cheering before the appearance of Beyoncé.	表演从演唱会期间人群在  Beyoncé  出现之前欢呼的镜头开始。
The curtains are lifted to reveal the stage and Beyoncé appears in red clothes hanging upside down while being taken to a sofa on the stage with a harness singing "Baby Boy".	幕帘被掀起，露出舞台，Beyoncé 穿着红色的衣服，用背带倒挂着带到舞台上的沙发上，唱着「Baby Boy」。
She is backed by a big screen and several dancers on stage who perform a choreography around her.	她身后有一个大萤幕和舞台上围绕着她伴舞的几位舞者。
She later starts dancing with them as the song plays and a breakdown towards the end is also featured.	后来，当歌曲播放时，她开始与舞群一起跳舞，并且朝向结尾的分解也是特色。
She asks from the girls in the crowd to sing to "Naughty Girl" as she dances with background dancers while the words "Naughty Girl" are displayed on the screen behind her.	随着与背景舞者一起跳舞，同时《Naughty Girl》的字样显示在她身后的萤幕上，她请人群中的女孩唱《Naughty Girl》。
Towards the end of the song she performs portions of Vanity 6's song "Nasty Girl" (1982) as a short dance break.	在歌曲的结尾，她表演了 Vanity 6 的歌曲《Nasty Girl》(1982) 的部分内容，作为短暂的舞蹈休息。
The lights are turned off and later silhouettes of Beyoncé and her dancers appear performing a choreography in front of the screen which is colored white while a backing track is played.	灯光被关闭，Beyoncé 和她的舞者的剪影出现在白色萤幕前表演编舞，同时播放背景音乐。
Stelmach's policy on health care was highlighted by his removal of the province's health care premiums effective the end of 2008.	Stelmach 的医疗保健政策因从 2008 年底开始取消该省的医疗保健保费而受到关注。
Critics had denounced the premiums as being regressive, both because they were the same amount regardless of the payer's income and because people with better-paying jobs often had their premiums covered by their employer.	批评者谴责这些保费会递减，因为无论付款人有多少收入，保费都相同，而且拥有更高薪水工作的人的保费通常欲由雇主支付。
The opposition Liberal and New Democratic parties had long called for their removal.	反对党自由党和新民主党长期以来一直呼吁将其撤职。
This elimination was announced in a throne speech immediately before the dissolution of the legislature for the 2008 election, although it was initially promised to take effect by 2012.	健保费取消是在 2008 年立法机关解散前夕的王权演讲中宣布的，尽管最初承诺在 2012 年之前生效。
During this campaign, Stelmach promised to increase the capacity of Alberta universities to train doctors and nurses over four years, eventually resulting in the graduation of 225 more doctors, 350 more registered nurses, and 220 licensed practical nurses.	在这次竞选期间，Stelmach 承诺在四年内提高亚伯达 (Alberta) 大学培训医生和护士的能力，最终成果有 225 名医生毕业，350 名注册护士和 220 名持牌执业护士。
After the registrar of the Alberta College of Physicians and Surgeons called the plan unfeasible, Health Minister Dave Hancock clarified that most of the increase would in fact come from the immigration of foreign doctors to Alberta, rather than from in-province training.	在亚伯达省内科医生和外科医生学院的注册长宣布该计划不可行之后，卫生部长 Dave Hancock 澄清说，大部分成长实际上将来自外国医生移民到亚伯达省，而不是来自省内培训。
Following the election, Stelmach's new Minister of Health, Ron Liepert, released the government's new health plan.	选举结束后，Stelmach 的新任卫生部长 Ron Liepert 发布了政府的新健康计划。
In it, Liepert refused to characterize the problems in the health care system as being the result of doctor shortages, and instead promised structural reforms.	在健康计划中，Liepert 拒绝将医疗保健系统的问题描述为医生短缺的结果，而是承诺进行结构性改革。
He indicated that these may include consolidating health authorities, closing rural hospitals, and de-listing some health services from coverage under the province's public health insurance scheme.	他指出，这些措施可能包括合并卫生部、关闭农村医院，以及将一些卫生服务从该省公共医疗保险计划的覆盖范围中删除。
In May, the government took the first step in implementing these structural reforms by combining the province's nine health authorities into one health "superboard".	今年 5 月，政府迈出了实施这些结构性改革的第一步，将全省的九个卫生部门合并为一个卫生「超级委员会」。
In June 2008, three senior health officials announced that they would be leaving the province's employment at the expiration of their contracts in August.	2008 年 6 月，三名高级卫生官员宣布，他们将在 8 月合约到期时离开该省的工作岗位。
Liepert blamed their departures on better offers from other employers, although New Democrat leader Brian Mason speculated that the government's health restructuring may have been to blame.	Liepert 将他们的离职归咎于其他雇主提供更好的报价，尽管新民主党领袖 Brian Mason 推测政府的健康重组可能是罪魁祸首。
Detractors pointed out that the optics of allowing the employees to depart for more money elsewhere soon after the government had approved a substantial pay hike for cabinet ministers were not good.	批评者指出，在政府批准内阁部长大幅加薪后不久，允许员工离开其他地方以获得更多资金的前景并不好。
As the province's fiscal situation worsened in late 2008, the government adapted its health policy.	随着该省的财政状况在2008年底恶化，政府调整了其健保政策。
In December, Liepert announced a new seniors drug plan that made drugs free for seniors making less than $21,325 but required those making more to pay as much as $7,500 for their drugs.	去年 12 月，Liepert 宣布了一项新的年长者药物计划，该计划为收入低于 21,325 美元的年长者免费提供药物，但要求收入更高的人为他们的药物支付高达 7,500 美元的费用。
In response to protests from seniors, he amended the plan in April 2009 to reduce both the income level at which seniors would have to start paying and the amount which those seniors would have to pay.	为了回应年长者的抗议，他在 2009 年 4 月修改了该计划，降低年长者必须开始支付的收入水准和年长者必须支付的金额。
Liepert said that the plan, $10 million more expensive than the one he had announced in December, would see 60% of seniors pay less than they did under the status quo.	Liepert 说，该计划比他在 12 月宣布的计划费用高出 1000 万美元，将使 60% 的年长者支付的费用低于他们在现状的价格。
The same month, Stelmach's government's budget revealed changes to which medical services it would cover: those de-listed included chiropractic services, at an annual savings of $53 million, and sex change operations, at an annual savings of $700,000.	同月，Stelmach 政府的预算披露该计划将承保的医疗服务变化，不在承保范围内的项目包括：每年节省 5300 万美元的脊椎按摩疗法服务，以及每年节省 70 万美元的变性手术。
While the Canada Health Act requires the federal government to financially penalize provinces that do not support all "medically necessary" procedures, Liepert maintained that the de-listed services were not "medically necessary" from the perspective of the Act, and said that he anticipated no trouble from the federal government.	虽然《加拿大健保法》(Canada Health Act) 要求联邦政府对不支援所有「医疗必要」程序的省份进行经济处罚，但 Liepert 坚持认为，从该法案的角度来看，程不在承保范围内的服务在「医疗上是必要的」，并表示他预期联邦政府不会遇到困难。
During the 2009 H1N1 pandemic, Stelmach initially announced that the government would make the vaccine available to all Albertans, though vaccine shortages resulted in a limited number of clinics, which experienced long lineups.	在 2009 年 H1N1 流感大流行期间，Stelmach 最初宣布政府将向所有亚伯达省人提供疫苗，尽管疫苗短缺导致诊所数量有限，但这些诊所经历大排长龙。
Wright died at home in London of cancer on 15 September 2008, aged 65.	London 于 2008 年 9 月 15 日在伦敦的家中因癌症去世，享年 65 岁。
At the time of his death, he had been working on a new solo album, which was thought to comprise a series of instrumental pieces.	在他去世时，他一直在制作一张新的个人专辑，该专辑被认为包括一系列乐器作品。
The surviving members of Pink Floyd paid Wright tribute.	Pink Floyd 的幸存成员向 Wright 致敬。
Waters said "it is hard to overstate the importance of his musical voice in the Pink Floyd of the '60s and '70s" and was happy that they had managed to reunite for Live 8. Mason said Wright's contributions to Floyd were under-rated, and that his playing "was the sound that knitted it all together", comparing his "quiet one" status in the band to George Harrison.	Waters 说：「很难夸大他的音乐声音在 60 年代和 70 年代的 Pink Floyd中的重要性」，并且很高兴他们能够为 Live 8 重聚。 Mason 说，Wright 对 Floyd 的贡献被低估了，他的演奏「是将所有声音交织在一起」，并比较将他与 George Harrison 在乐队中的「安静」状态。
Gilmour called him "my musical partner and my friend", praised the ability of the two men's voices to blend, such as on "Echoes".	Gilmour 称他为「我的音乐搭档和我的朋友」，称赞两人的声音融合能力，比如在《Echoes》中。
Wright's death brought Pink Floyd to a formal end, with Gilmour re-iterating that it would be wrong to resume touring without him.	Wright 辞世使 Pink Floyd 正式结束，Gilmour 重申，没有他恢复巡演是错误的。
On the day of Wright's death, Elton John, while playing a concert in Saskatoon, Saskatchewan, Canada dedicated the song "Believe" to him.	Wright 去世当天，Elton John 在加拿大萨克其万省萨斯卡通市 (Saskatoon, Saskatchewan, Canada) 的一场音乐会上将歌曲《Believe》献给了他。
On 23 September, Gilmour performed "Remember a Day", a Wright composition from Pink Floyd's second album, A Saucerful of Secrets, on a live broadcast of Later... with Jools Holland on BBC Two as a tribute to Wright.	9 月 23 日，Gilmour 在《裘斯荷兰乐之声》(Later... With Jools Holland) 的现场广播表演《Remember a Day》作为 Wright 对的致敬，这是 Pink Floyd 第二张专辑中由 Wright 作曲的一首歌。
In an interview later on in the show, Gilmour said that Wright had intended to perform with him that day, but that he had texted Gilmour a couple of weeks before his death to advise him that he would not be well enough to attend.	在节目后期的一次采访中，Gilmour 说 Wright 那天打算和他一起表演，但他在去世前几周给 Gilmour 发了简讯，告诉他身体状况不佳，无法参加。
Wright's main influence was jazz, particularly Miles Davis and John Coltrane.	Wright 的主要影响是爵士乐，尤其是 Miles Davis 和 John Coltrane。
He never considered himself a typical songwriter, preferring to create whole albums of music with a theme, later saying "if the words came out like the music, and we didn't have anything else to do, then quite a few would be written".	他从不认为自己是典型的词曲作者，他更喜欢创作一整张有主题的音乐专辑，后来他说：「如果歌词像音乐信手拈来，而我们没有别的事情可做，就会写出相当多的歌曲」。
A number of compositions credited to Wright came out of improvisation and randomly trying ideas, some of which were picked up enthusiastically by his band mates.	Wright 创作的许多作品都是即兴创作和随机尝试的想法，其中一些被他的乐队伙伴热情地捡起来。
Wright later said "I just play and don't really think about what I'm doing, I just let it happen".	Wright 后来说：「我只是玩，并没有真正考虑我在做什么，我只是随心随性。」
Of all the Pink Floyd members, Wright was the most reserved, sitting down behind the keyboards and concentrating on the music.	在所有 Pink Floyd 成员中，Wright 最保守，他坐在键盘后面，专注于音乐。
In the 1970s, Wright listened to some contemporary progressive rock bands, and particularly liked early Peter Gabriel-fronted Genesis.	在 1970 年代， Wright 听了一些当代前卫摇滚乐队，特别喜欢早期的 Peter Gabriel 前卫 Genesis。
He later asked some of the musicians in Gabriel's solo touring band to play on Broken China.	后来，他邀请 Gabriel 的独奏巡演乐队中的一些音乐家在 Broken China 上演奏。
Wright enjoyed playing the organ, and considered the style he used in Pink Floyd to be unique.	Wright 喜欢演奏管风琴，并认为他在 Pink Floyd 中使用的风格是独一无二的。
He played solos in the early part of Floyd's career, frequently using Egyptian scales, such as on "Matilda Mother" or "Set the Controls for the Heart of the Sun".	在 Floyd 职业生涯的早期，他独奏时经常使用埃及音阶，如《Matilda Mother》或《Set the Controls for the Heart of the Sun》。
His jazz background led to him being interested in free form music, with adherence to tempo being less important.	他的爵士乐背景使他对自由形式的音乐感兴趣，坚持节奏并不那么重要。
Later, he was more interested in complementing each piece with organ, electric piano or synthesizer as a backing instrument, while still featuring occasional solos.	后来，他更感兴趣的是用管风琴，电钢琴或合成器作为背景乐器来补充每首曲子，同时仍然偶尔独奏。
Production on the episode began on September 14, 2004, and ran through to September 22.	该集的制作于 2004 年 9 月 14 日开始，一直持续到 9 月 22 日。
The standing sets were used for the first three days of filming.	拍摄的前三天采用站立式布景。
Further sets were created to represent the Vulcan Embassy and portions of the Forge.	为了代表火神大使馆和锻造厂的一部分，还创作了更多的布景。
The final two days were filmed on site in Simi Valley in southern California, which doubled as the main areas of the Forge.	最后两天是在加利福尼亚州南部的西米谷 (Simi Valley) 现场拍摄，该山谷是锻造厂的主要区域。
The property used in the valley was owned by mining company P.W. Gillibrand, which was near property owned by Vulcan Materials Company.	山谷中使用的财产由矿业公司 P.W. Gillibrand 拥有，该公司靠近 Vulcan Materials Company 拥有的财产。
Optical effects were added to represent the firestorm and the sehlat.	增添光学效果来表示火风暴和 Sehlat 兽。
The CGI sehlat was based on one which previously appeared in Star Trek: The Animated Series episode "Yesteryear".	CGI sehlat 基于之前出现在《星际争霸战：动画版系列》剧集《过去的岁月》(Yesteryear) 中的一个角色。
Visual effects producer Dan Curry said that the team "looked at the animated series and it just looked nice and pleasant, so I did a couple of sketches to do a reinterpretation of it to make it look scary, but not be too radical a departure from the original".	视觉效果制作人 Dan Curry 说，团队「看了动画系列，它看起来很好，很愉快，所以我做了几个草图来重新解释它，让它看起来很吓人，但又不会太激进地偏离原版」。
Eden FX modelled the CGI under supervision by staff visual effects supervisor Art Codron.	Eden FX 在工作人员视觉效果总监 Art Codron 的监督下对 CGI 进行了建模。
Additional care was taken to create the fur so that close-ups could be used if required.	在制作毛皮时还采取额外措施，可在需要时使用特写镜头。
The only physical portion of the sehlat to be created was a single paw. "Yesteryear" was set in the Vulcan city Shi'Khar, which reappears in "The Forge", and it is also the first mention of the area on Vulcan called the Forge.	唯一要创作的 sehlat 有形部分是一只爪子。 《过去的岁月》以火神之城 Shi'Khar 为背景，在《锻造厂》(The Forge) 中再次出现，这也是火神岛上第一次提到被称为锻造厂的地区。
A further reference was made to "Vulcan's Forge" in the Deep Space Nine episode "Change of Heart".	在《银河前哨》(Deep Space Nine) 的《Change of Heart》一集中，进一步提到了「火神的锻造」(Vulcan's Forge)。
"The Forge" and the following two episodes make reference to a time of savagery in Vulcan history known as the "Time of Awakening".	《锻造厂》和以下两集引用了火神历史上被称为「觉醒时代」(Time of Awakening) 的野蛮时期。
This had been previously mentioned in the original series episodes "Balance of Terror", "All Our Yesterdays", and "The Savage Curtain", as well as The Next Generation episode "Gambit".	这在最初的系列剧集《恐怖平衡》(Balance of Terror)、《All Our Yesterdays》和《野蛮的帷幕》(The Savage Curtain) 以及下一代剧集《Gambit》中已经提到过。
The story mentioned the Vulcan T'Pau, who had previously appeared in The Original Series episode "Amok Time" presiding over the fight between Kirk and Spock, with the elder T'Pau portrayed by Celia Lovsky. Michael Reilly Burke returns as Koss, having previously appeared in the role in the season-four episode "Home".	这个故事提到了火神 T'Pau，他之前曾出现在原始系列剧集《Amok Time》中，主持 Kirk 和 Spock 之间的战斗，老 T'Pau 由 Celia Lovsky 饰演。 Michael Reilly Burke 以 Koss 的身份回归，之前曾在第四季的《Home》中出现过这个角色。
Robert Foxworth appears as Administrator V'Las, having previously appeared as Admiral Leyton in the Deep Space Nine episodes "Homefront" and "Paradise Lost".	Robert Foxworth 以管理员 V'Las 的身份出现，此前曾在《银河前哨》(Deep Space Nine) 的《家园》(Homefront) 和《失乐园》(Paradise Lost) 中饰演莱顿海军上将 (Admiral Leyton)。
Husband and wife duo Judith and Garfield Reeves-Stevens had previously written a number of Star Trek-related novels and books, including a series of collaborations with William Shatner and the novel Federation.	夫妻二人组 Judith 和 Garfield Reeves-Stevens 之前写过许多与《星际争霸战》相关的小说和书籍，包括与 William Shatner 的一系列合作及小说《联邦》(Federation)。
They had also written several nonfiction books on the behind-the-scenes productions of the Star Trek series such as Star Trek: Phase II - The Lost Series and Star Trek: The Next Generation - The Continuing Mission.	他们还写了几本关于《星际争霸战》系列幕后制作的非小说类书籍，如《星际争霸战：Phase II - The Lost Series》和《星际争霸战：The Next Generation - The Continuing Mission》。
"The Forge" was their first script together for a Star Trek series, but they had previously written scripts for other shows, including Sir Arthur Conan Doyle's The Lost World and Once a Thief.	《锻造厂》是他们为《星际争霸战》系列合作的第一个剧本，但他们之前还为其他节目写过剧本，包括 Arthur Conan Doyle 爵士的《失落的世界》(The Lost World) 和《Once a Thief》。
They joined the Enterprise writing team shortly before working on the story for this episode which formed the first part of a planned "Vulcan arc".	他们不久后加入了企业写作团队，然后为这一集撰写了故事，这一集构成了计划中的《Vulcan arc》的第一部。
After reading an article about the iLoo, Andrew Cubitt, inventor of the similarly named i-Loo, wrote to The Inquirer stating that iLoo "sounds remarkably similar ... it now seems that the clever people at Microsoft have cottoned onto the idea and even call it the i-Loo, the same as mine!" Cubitt went on to say that "mine did everything that the Microsoft one is meant to do, but additionally printed information on toilet paper and didn't use a keyboard for the interface due to hygiene reasons".	名称相近的 i-Loo 发明人 Andrew Cubitt 在读了一篇关于 iLoo 的文章后，投书到《询问者》说 iLoo「听来很像...看来微软公司里的聪明人接受这个概念，甚至也把它叫做 i-Loo，跟我的一样！」Cubitt 接着说，「微软的和我的软体功能一模一样，但我另外把资讯印在卫生纸上，而不使用键盘，因为这样比较卫生。」
The i-Loo was prototyped by Cubitt as part of his thesis for his 2001 university degree in Product Design and Engineering at Brunel University.	i-Loo 是 Cubbit 在 2001 年就读汶莱大学产品设设与工程系时，为撰写学位论文而做出的原形。
In an interview with The Inquirer, he noted "As it was designed at the university, they own the partial rights to the product so they will be watching the Microsoft 'invention' very closely."	在《询问者》的一次专访里，他指出「由于是在大学中设计的，因此大学拥有产品部分权利；大学会仔细检视微软的这项『发明』』。
Microsoft never formally commented on Cubitt's allegations and instead initially stated the iLoo was an April's fool joke.	微软从未正式回应 Cubitt 的指控，却开始说 iLoo 只是个愚人节的玩笑。
As a result, Cubitt questioned whether this was "a very calculated ploy to destroy competition in its early stages, or is admitting they don't even know what time of the month it is less embarrassing and ridding them of a potentially expensive situation!" Cubitt went on to state that "as they have now discredited my idea as a joke, I will never be able to produce the idea" and as such was "consulting my law books now on defamatory statements".	因此，Cubitt 质疑这是一场「精心算计的计谋，在一开始就破坏竞争；微软也可以承认他们不知道何时才能显得不那么尴尬，摆脱可能付出的昂贵代价！」Cubbit 继续说，「现在他们把我的创意贬抑成一个笑话，所以我再也无法把它变成产品了」，「我现在正在查看和诽谤言论相关的法律书」。
Neither Cubitt, nor Brunel University have taken public legal action against Microsoft pertaining to the i-Loo.	Cubitt 和汶莱大学都不曾针对 i-Loo 对微软提告。
The i-Loo was described as:	i-Loo 的说明如下：
The i-Loo internet toilet roll browser is a novel and unique product designed to make best use of the time you spend on the loo!	i-Loo 网路卷筒式卫生纸浏览器是全新、独一无二的产品，专门让你排遣上大号时的时间！
The product allows you to search the internet whilst sitting on the toilet and print out any web pages you are interested in on your toilet paper.	本产品让你在卫生纸上搜寻网路资讯，并且印出任何感兴趣的网页。
i-Loo brings a whole new meaning to the word downloading.	i-Loo 让「下载」这个词有了全新的意义。
The unit is fixed in front of a toilet on the cubical [sic] wall.	该装置固定在墙上厕纸架的前方。
The product provides up to date information about new products, daily news and lottery results through an easy to navigate software package.	该产品透过易于使用的软体，提供各种新产品、每日新闻、乐透开奖结果的最新资讯。
Normal operation of the toilet and paper dispenser is evident.	当然，厕纸供给器可以如常使用。
The i-Loo internet toilet roll browser was featured at the 2003 Daily Mail Ideal Home Show as part of the Future Concepts exhibition in Earls Court, London, where it was nominated for the MFI Bright Sparks 2003 awards.	i-Loo 网路卷筒卫生纸浏览器，在 2003 年每日邮报理想家庭展览，以及伦敦伯爵府未来概念展中展出；同时还获得 2003 年 MFI 亮眼产品大奖。
The i-Loo, which was sponsored by Epson Printers, received significant press coverage, and was featured on GMTV as well as various radio shows.	获得 Epson 印表机赞助的 i-Loo 获得广泛媒体报导，也在 GMTV 与多家电台节目中露出。
His daughter Lidya Steinhaus was married to Jan Kott.	他的女儿 Lydia Steinhaus 与 Jan Kott 结婚。
On November 1, 2017, a controversy arose as the University of Wrocław took no action to pay for his grave to keep it until 2022 in face of its expiration because it supposedly "had no money".	2017 年 11 月 1 日，乐斯拉夫大学因为「经费短缺」而未能支付到 2022 年为止的墓园费用，因而引发争议。
Mayor Rafał Dutkiewicz was also widely criticized for doing nothing.	市长 Rafal Dutkiewicz 也因无所作为而广遭批评。
Random people organized a charity and paid for the grave to remain.	许多善心人士发动捐款活动，支付墓园管理费用，使其可以留存。
Born in Forbes, New South Wales, on 27 February 1903, Lester Brain was the second son of an English mining engineer and manager, Austin Brain, and his Australian wife, Katie.	Lester Brain 在 1903 年 2 月 27 日生于新南威尔斯的福布斯，是英国矿业工程师兼经理 Austin Brain 与其澳洲籍妻子 Katie 的次子。
Originally from Gloucestershire, Austin had emigrated with his parents and siblings in 1885, prospecting for gold in the United States before settling in Australia.	Austin 出身英国格罗斯特郡，在 1885 年和双亲与兄弟姐妹举家迁至美国，以追逐当时的淘金潮，之后移居澳洲。
By the age of thirteen, Lester owned his own motorcycle bought secondhand for £11; its poor condition and constant need for repair helped him become mechanically adept at an early age.	13 岁左右，Lester 就以 11 英镑买了自己的二手摩托车；由于车况很差，经常需要修理，使得他很早就精于各种机械。
He completed his education at Sydney Grammar School, where he excelled in maths, before being employed by the Commercial Banking Company of Sydney (CBC) in 1919.	他毕业于雪梨文法学校，特别擅长数学，后来在 1919 年任职于雪梨商业银行公司（CBC）。
Brain's penchant for motorbikes and things mechanical inspired a lift driver at CBC to suggest he apply for pilot training in the recently formed Royal Australian Air Force (RAAF).	Brain 对机车的热情，以及机械方面的天份，让 CBC 公司内的一位升降机司机大为惊奇，推荐他向刚成立的皇家澳洲空军 (RAAF) 申请飞机驾驶训练。
He was among five civilian students nominated by the Civil Aviation Branch (CAB) of the Defence Department for entry into the inaugural RAAF flying training course, which commenced at Point Cook, Victoria in January 1923.	他是国防部民航局 (CAB) 推荐进入 RAAF 首届飞行训练班的五个民间学员之一，该班于 1923 年成立于维多利亚省的库克。
The benefit of these nominations from a military perspective was that although the destiny of the CAB-sponsored students was to be civil aviators, they would also be members of the RAAF reserve, known as the Citizen Air Force (CAF), and could therefore be called up for active service as and when necessary.	从军事角度来看，提名这些人的好处是，虽然这些由 CAB 赞助的学员，最后都会成为民航机飞行员，但可以充任 RAAF 后备飞官，亦即市民空军 (CAF)，在需要他们服役时即可派上战场。
Brain's fellow attendees included Royal Australian Navy lieutenants Joe Hewitt and Ellis Wackett, and Australian Army lieutenant Frank Bladin, all of whom were seconded—and later permanently transferred—to the RAAF.	Brain 的同期同学包括皇家澳洲海军中尉 Joe Hewitt 与 Ellis Wackett，以及澳洲陆军中尉 Frank Bladin；这些人后来都支持 RAAF，之后也永久成为 RAAF 的一员。
Brain graduated at the top of his class after the year-long training course at Point Cook, and was duly commissioned in the CAF.	Brain 在 Point Cook 为期一年的训练课程中拿到全班第一名，立即受到 CAF 委任。
Moving to Queensland in April 1924, he took up employment as a pilot with Queensland and Northern Territory Aerial Services (Qantas), its first aviator without a war record.	他在 1924 年移居昆士兰，出任昆士兰与北疆航空公司 (Qantas) 的飞行员，且是第一个不曾上过战场的机师。
On 7 February 1925, he flew the first scheduled passenger service from Cloncurry to Camooweal, extending the airline's founding 580-mile (930 km) route—from Charleville to Cloncurry—by 284 miles (457 km).	1925 年 2 月 7 日，他首次执飞自吉朗卡列飞往卡木维尔的定期客机，将该公司成立以来自查尔斯维尔到吉朗卡列，距离约 580 英哩 (930 公里 )的航路，一口气延长了 284 英哩 (457 公里)。
The following year, he completed a refresher course at Central Flying School, Point Cook.	隔年，他在 Point Cook 的中央飞行学校完成再训练课程。
On a rain-soaked McKinlay airfield near Cloncurry on 27 February 1927, he flipped Qantas' first de Havilland DH.50 on to its back while attempting take-off, though he managed to escape without injury.	1927 年 2 月 27 日，当他在吉朗卡列附近的麦金利机场，在大雨天中驾驶澳航首架 de Havilland DH.50 型飞机时发生翻覆意外，所以他及时逃生，毫发无伤。
Qantas founder Hudson Fysh berated him for a "serious error of judgement", but noted his excellent three-year record as a pilot; the aircraft was soon repaired and operational again.	澳航创办人 Hudson Fysh 痛斥他犯下「严重误判」，但也注意到他三年来优异的飞行记录；那架飞机很快修好并且重新投入营运。
The next month, Brain became Chief Instructor at the Qantas Flying School in Brisbane, doubling as manager of the airline's local office.	隔月，Brain 出任布里斯班澳航飞行学校的总教官，兼任该公司当地办公室经理。
By mid-1928, he had overworked himself to the extent that he was ordered to take respite by Fysh; this "respite" nevertheless involved a 13-week trip to England to study aviation developments.	在 1928 年中，他由于工作过劳，被 Fysh 下令暂时停飞休息；但这个在为期 13 的「休假」行程，他还是去了英国研习航空的发展。
In April 1929, Brain was selected to take part in a search for lost aviators in northern Australia, having gained experience of the area while flying over the Tanami Desert to assist a gold prospecting expedition some years earlier.	1929 年 4 月，Brian 受命参与在澳洲北方搜救失踪飞行员的任务；在那之前他曾飞越塔纳米沙漠以协助发掘金矿，而这次任务让他对该地区更具经验。
On 20 April, he took Qantas DH.50 Atalanta from Brisbane to link up with RAAF Airco DH.9s under the command of Flight Lieutenant Charles Eaton at Tennant Creek, to look for Keith Anderson and Robert Hitchcock in their Westland Widgeon the Kookaburra.	4 月 20 日，他驾驶澳航 DH.50 型，与由 Tennant Creek 的飞行教官 Charles Eaton 指挥的 RAAF Airco DH9 机队，一同搜救驾驶 Westland Widgeon 型直升机「笑翠鸟号」的 Keith Anderson 和 Robert Hitchcock。
The pair had disappeared while searching for Charles Kingsford Smith and Charles Ulm, who had been reported missing on a record attempt from Sydney to England in the Southern Cross.	这两人是在搜救 Charles Kingsford Smith 与 Charles Ulm 时失踪；后者据报是在驾驶南十字星号，自雪梨飞往英国途中失踪。
Brain located the Kookaburra the next day in the Tanami Desert, approximately 130 kilometres (81 mi) east-south-east of Wave Hill.	Brain 隔天在塔纳利沙漠中发现「笑翠鸟号」，约在 Wave 山东南东方约 130 公里处 (80 英哩)。
Galadriel was originally named Artanis (Q. 'ar'=noble, 'nis'=woman, a name common to royal women of the Elves, most prominently as in the form Arwen, Galadriel's granddaughter), and Nerwen (Q. 'ner'=man, 'wen'=maiden, hence manly maiden), referring to her height and strength; Galadriel is the Sindarinized version of Telerin Quenya Alatáriel (Q. 'alatá'=radiance, 'riel'=maiden crowned with a garland), a name given her by Celeborn, referring to her silver-golden hair.	凯兰崔尔一开始被命名为 Artanis (Ar 意指高贵，nis 指女性，这名字在精灵界的皇家女性中十分常见，最有名的就是凯兰崔尔的孙女亚雯) 和 Nerwen ( ner 意指男性，wen 则指少女，此处以少女为主) ，指的是她的高贵与能力；凯兰崔尔是 Telerin Quenya Alatariel 的辛达林语版本名字 (alata 是指光辉、riel 指戴着花冠的少女)。凯勒鹏如此命名，意指凯兰崔尔金银色的头发。
The name Galadhriel (S. 'galadh'=tree, 'riel'=crowned maiden) was used outside Lórien by the people who did not know the ancient days and Galadriel's history, confusing galad with the Sindarin word galadh and the name of the Galadhrim, the people of Lórien.	在罗林之外，不了解古代史与凯兰崔尔过去的人，会用凯兰迪尔 ( galadh 指树木，riel 指加冕的少女) 之名，将 galad、辛达林语中的 galadh，以及意指罗林人的 Galadhrim 混为一谈。
As the ruler of Lothlórien, she was referred to by a variety of titles, including "Lady of Lórien", "Lady of the Wood", and (by Gimli) "Queen Galadriel"—although, according to Tolkien's account in Unfinished Tales, neither she nor Celeborn took royal titles themselves, as they considered themselves merely guardians of Lórien.	身为洛斯罗林的统治者，她拥有多个不同头衔，如「罗林女王」和金雳所称的「凯兰崔尔女王」；不过据托尔金在「未完成的故事」中的说法，不论是她或凯勒鹏，都不曾自称皇室头衔，因为他们认为自己只是罗林的守护者而已。
She was also referred to as "Lady of Light" (the translation of Galadriel) or as the "White Lady", as her fair skin and white cloaks made her seem to shine.	也有人称她「光之女王」（即凯兰崔尔的译义），或因她美丽的肌肤与看来闪耀无比的白袍，而称她为「白色女王」。
It was said (by the Dúnedain) that her height was two rangar (Quenya: 'strides'), or "man-high" – about 6 ft. 4 in., or 193 cm.	据登丹人说她的身高有两个跨步，或「一个长人」，约有 6 呎 4 吋（193公分）高。
However, Galadriel's most striking feature is her beautiful long silver-golden hair.	不过，凯兰崔尔最特别的，还是她一头金银色的美丽长发。
The Elves of Tirion said it captured the radiance of the Two Trees Laurelin and Telperion themselves.	提理安的精灵说，它获得了双圣树金树罗瑞林与银树泰尔佩瑞安的光辉。
Even among the Eldar she was accounted beautiful, and her hair is held a marvel unmatched.	即使在神族中，她也是无比美丽，特别是一头秀发更是无人可比。
It is golden like the hair of her father and of her foremother Indis, but richer and more radiant, for its gold is touched by some memory of the starlike silver of her mother; and the Eldar say that the light of the Two Trees, Laurelin and Telperion, has been snared in her tresses.	那种金色就她父亲和女性祖先 Indis，但更加光泽耀眼，她母亲如星光般的银色记忆也掺入其中，神族人说双圣树罗瑞林与泰尔佩瑞安发出的光芒，也混入了她的秀发之中。
It was greatly admired by Fëanor and may have inspired him to create the Silmarilli.	费诺非常喜爱这点，也促使他创造出精灵宝钻。
Many thought that this saying first gave to Fëanor the thought of imprisoning and blending the light of the Trees that later took shape in his hands as the Silmarils.	许多人认为这种说法，开始让费诺想到把双圣树的光芒禁锢并混入到后来他打造出的精灵宝钻之中。
For Fëanor beheld the hair of Galadriel with wonder and delight.	对费诺来说，注视凯兰崔尔的头发，就能带来惊叹与喜悦。
Nevertheless, she never repaid Fëanor's admiration with the generosity she showed to Gimli the Dwarf in The Fellowship of the Ring.	但是，她从来不曾像对待矮人金雳和魔戒远征队那样慷慨回报费诺的赞美。
Fëanor "had begged her thrice for a tress and thrice she refused to give him even one hair.	费诺「曾经三次向她请求赐发，而她三次都拒绝了，一根也没给
It is said that these two kinsfolk, being considered the greatest of the Eldar of Valinor, remain unfriends forever."	据说这两位维林诺的艾尔达精灵一族中最伟大的人，此后一直都不相往来。
Her character was similarly a blend of characteristics of the kindreds of the Eldar from whom she was descended.	她的个性明显有一部分来自祖先艾尔达人的特征。
She had the pride and ambition of the Noldor, but in her they were tempered by the gentleness and insight of the Vanyar.	她拥有诺多族的骄傲与野心，但也受到来自凡雅族温和与智慧特质的抚平。
She shared the latter virtues of character with her father Finarfin and her brother Finrod.	她和父亲费纳芬与哥哥芬罗德一样，都拥有凡雅族的特质。
She was proud, strong, and self-willed, as were all the descendants of Finwë save Finarfin; and like her brother Finrod, of all her kin the nearest to her heart, she had dreams of far lands and dominions that might be her own to order as she would without tutelage.	她充满傲气、坚强、任性，一如芬威的子嗣中与她最亲近的费纳芬与哥哥芬罗德一样，梦想支配远方的土地和领地，没有任何人可以管得动她。
Yet deeper still there dwelt in her the noble and generous spirit of the Vanyar, and a reverence for the Valar that she could not forget.	在她内心深处仍然存有凡雅族高贵与慷慨的精神，而她也不能忘却对勇者的敬意。
Kepler-10b's discovery excited astronomers, who hoped to use data about it to inquire into the formation and structure that terrestrial, Earth-size planets tend to have in common.	Kepler-10b 的发现，让天文学家大为振奋，希望能够利用这些资料，找出这类地球型，大小也接近地球的行星形成与结构的共同之处。
Geoff Marcy of the University of California at Berkeley said that the discovery was ranked "as among the most profound scientific discoveries in human history," and that the planet "will go into every textbook worldwide." Marcy also described Kepler-10b as "a bridge between the gas giant planets we've been finding and the Earth itself." Diana Valencia at the University of Côte d'Azur in Nice, France considered the planet more of a "super-Mercury" than a super-Earth, granted its physical characteristics.	加州大学柏克莱分校的 Geoff Marcy 指出，这项发现「可以跻身人类史上最重要的科学发现」，该行星「也将载入全世界各国的教科书中」。 Marcy 同时指出 Kepler-10b 「界于我们已经找到的许多气态巨行星与地球本身之间」。法国尼斯蔚蓝海岸大学的 CDiana Valencia 则认为该行星的各种物理特征，比较接近「超级水星」而非超级地球。
Kepler-10b is most noted for its rocky surface.	Kepler-10b 最负盛名的是其岩石表面。
It has a diameter 1.4 times that of the Earth, and a mass of 3.33±0.49 times that of Earth.	其直径是地球的 1.4 倍，质量则为地球的 3.33±0.49 倍。
The density of Kepler-10b is 5.8±0.8 g cm⁻³.	Kepler-10b 密度则为 5.8±0.8 g cm⁻³。
It orbits its star, Kepler-10, in less than a day, at less than a twentieth of the distance from Mercury to the Sun.	其环绕母星 Kepler-10 所需时间不到一天，距离不到水星到太阳的二十分之一。
Its surface temperature on the star lit side is approximately 1833 K, which is as hot as a blast furnace and hot enough to melt iron.	该星的表面温度约为 1833 K，和炽热的熔炉一样热，足以熔化铁器。
Though CoRoT-7b was discovered before Kepler-10b and has been claimed to be rocky, there is more room for other interpretations in the case of CoRoT-7b's composition than there is for Kepler-10b.	虽然 CoRoT-7b 较 Kepler-10b 先发现，也有人说它具备岩质表面，但和 Kepler-10b 相比，CoRoT-7b 组成的说法有更多争议。
This is due to the much larger uncertainty in CoRoT-7b's mass (and, to a lesser extent, its radius) which is illustrated in the plot to the left.	主因在于 CoRoT-7b 的质量还有很大的不确定性 (直径也不太确定），如左图。
Consequently, CoRoT-7b may be revealed to be a lava-ocean planet, whereas Kepler-10b must be predominantly made of rock or iron.	因此，CoRoT-7b 很可能是个岩浆之海，而 Kepler-10b 则是由岩石或铁质构成。
In addition to showing the range of masses and radii consistent with the observations of each planet, the plot includes curves of compositions implied by certain masses and radii.	除了要正确展现每个行星质量与直径的观测值外，该图像也包括质量与直径的曲线。
Kepler-10b is tidally locked to its parent star and has extreme variations in temperature between day and night sides.	Kepler-10b 受其母星潮汐锁定，日夜温差变化极端剧烈。
It also reflects about half of the starlight it receives.	该星约反射出所受光照的一半。
The writer for this episode, David A.	本季的作者 David A.
Goodman, said that making this episode was a "dream come true" for many members of the crew including himself.	Goodman 说，该季的制作对包括他本人在内的许多剧组成员来说，可谓「美梦成真」。
At the time he was hired onto the staff, they were already talking about creating a Star Trek-centric episode.	当他受雇成为工作团队之时，团队已经在讨论制作以星舰迷航记为主的节目。
The initial idea was to have a giant Kirk and Spock fighting over New York-New York Hotel and Casino.	一开始的想法，是让巨大化的寇克船长与史巴克，在纽约纽约饭店和赌长打架。
Executive producer David X.	执行制作 David X.
Cohen assigned the writing task to Goodman, as they agreed he was the biggest Trek fan of the group.	Cohen 指派 Goodman 撰写剧本，因为大家公认他是团队中最死忠的星舰迷。
They agreed to drop the story idea with the giant characters and gave him two weeks to write the script.	大家同意放弃巨大化角色的故事想法，给他两星期回去写剧本。
The deadline was complicated as Goodman had to spend the first week on jury duty, and then broke his ankle.	剧本完成一拖再拖，主要是因为在第一周 Goodman 得出庭担任陪审员，接着又扭伤了脚踝。
Despite this, he described "Where No Fan Has Gone Before" as the most fun he has ever had writing a script.	虽然如此，他说这是他写起来最有乐趣的剧本，「没有哪个粉丝可以这样」。
Series creator Matt Groening stated that while he is a fan of the Star Trek franchise, he has never seen an episode of The Original Series in its entirety, but has seen Star Trek: The Motion Picture.	连续剧创作者 Matt Groening 说，虽然他是星舰迷，但从来没有完整看完一集星舰原创系列节目，不过倒是看过电影版。
Director Pat Shinagawa said that there was a certain amount of jealousy among the crew that she got to work on the episode.	导演 Pat Shinagawa 说，有些剧组成员听到她要来拍节目，还有点嫉妒她。
All of the living members of the original Star Trek cast agreed to appear in the episode with the exception of James Doohan, whose agent replied with "No way." Because of this, the episode's working title was jokingly named "We got everybody but Scotty" and so Scotty was replaced with "Welshie".	所有星舰角色还活着的演员，都同意在节目中亮相，只有 James Doohan 拒绝；他的经纪人回覆说「别想」。正因如此，节目的暂定名字就戏称为「所有人都到齐了，只差史考提一个」，而史考提这个角色也被「威尔西」取而代之。
DeForest Kelley was physically portrayed but had no lines due to his death in 1999. William Shatner and Leonard Nimoy recorded their lines together, which was unusual as actors usually record solo.	DeForest Kelley 虽然亲自演出，但他在 1999 年过世，所以没有台词。 William Shatner 和 Leonard Nimoy 共同录制台词，这相当少见，因为演员的台词通常是分别录制的。
Following his work on Futurama, Goodman went on to join the writing staff on Star Trek: Enterprise.	Goodman 在完成「飞出个未来」之后，接着加入星舰迷航记：企业号的编剧团队。
A number of designs for the energy being were considered for this episode; however, the final version was decided upon due to a desire to keep the design simple.	节目曾经考虑多种能量的不同设计形态，但最后的版本的决定，则是因为希望简化设计。
Shinagawa noted that even so, the final design for Melllvar is more sophisticated than some energy beings featured in the original series.	Shinagawa 指出，即使如此，Melllvar 的最终设计版本仍比最初剧集中的能量族成熟得多。
This episode contains many story elements based on episodes of Star Trek.	本集包括许多来自星舰迷航记各集的故事元素。
In the DVD audio commentary, Goodman noted his pride in having included a large number of quotations from The Original Series, particularly those items which he claims "the people on the internet" had not found on their own.	在 DVD 的有声解说中，Goodman 指出他很骄儌于在剧中引用了大量最初剧集中的对白，特别是许多连「网路上的人」都没有发现的对白。
He noted that in "Shatner's Log", based on Star Trek's "Captain's log", the line "The impossible has happened" quotes the opening log in "Where No Man Has Gone Before".	他说，在「夏特纳的日志」这集中，有句对白「不可能发生的事却发生了」，是来自星舰迷航记「舰长日志」这集开场时的一句对白「从来没有人去过之处」。
Although the episode was not the last episode produced for season four, it was used as the season finale for the fourth broadcast season, being broadcast on April 21, 2002, on Fox in the United States.	虽然本集节目的制作，并不是第四季的最后一集，但 2002 年 4 月 21 日在美国 Fox 频道播出第四季时，是作为大结局来播送的。
After returning from the United States after the launch of her debut studio album The Family Jewels (2010), Diamandis considered creating a character which would become the centerpiece of her follow-up project.	回到美国后，她推出首张录音室专辑 The Family Jewels (2010)，之后 Diamandis 考虑创造一个角色，日后成为她后续专案的中心。
She commented that she was inspired by the "Tumblr generation" to photograph herself in several places across the United States, appearing as a different persona in each picture to mimick the anonymity of the "mini-stars of the internet".	她评论说受到「Tumblr 世代」的激发，在美国各地自拍，每张照片中都呈现不同的形象，以模拟那些不知名的「网路上的微明星」。
The final product became "a cold, ruthless character who wasn't vulnerable", which she later named "Electra Heart" and detailed as a tool to represent a combination of elements associated with the American Dream and Greek tragedy, and added that visuals would merge the differing concepts into a cohesive idea.	最后的制作成为一种「冷血、无畏且没有弱点的角色」，后来她称之为「Electra Heart」，发展成一种结合美国梦与希腊悲剧元素的表现工具，并说视觉可以把这两种不同的想法融合为一。
Diamandis first announced Electra Heart in August 2011; it was initially planned to become a three-piece project inspired by American culture in the 1970s, although it eventually evolved into her second studio album.	Diamandis 于 2011 年 8 月首次公布 Electra Heart，一开始的计画是要以 1970 年代的美国文化为主题，发表三部作品；最后成为她的第二张录音室专辑。
Diamandis originally planned to release the record as a "side project" under an entity separate from Marina and the Diamonds, although her management disapproved.	Diamandis 原本打算将本专辑的发行当做「额外计画」，由自 Marina 与 the Diamonds 分出的公司发行，但她的主管没有同意。
The track "Living Dead" was the first recorded during its production, and approximately 22 songs were recorded for potential inclusion on the album.	专辑中最先录制的歌曲是「Living Dead」，一共录了 22 首可能收录到专辑中的歌曲。
She later commented that the record was dedicated to "dysfunctional love", elaborating that "rejection is a universally embarrassing topic and Electra Heart is my response to that." Diamandis stated that Electra Heart was influenced by Madonna, Marilyn Monroe, and Queen of France Marie Antoinette; she described Madonna as being "fearless" and felt that she showcased a desire to be a successful artist beyond fame and wealth.	后来她评论说该专辑要献给「失能的爱」，又说「拒绝总是让人难堪，我对此的反应就是 Electra Heart」。 Diamandis 说 Electra Heart 受到玛丹娜、玛莉莲梦露和法国皇后玛莉安东妮的影响；她说玛丹娜总是不惧一切，展现出在名利之外成为成功艺术家的欲望。
Diamandis told Glamour that Britney Spears influenced a "double-sided" theme for the record of both "innocence" and "darkness".	Diamindis 向 Glamour 说，小甜甜布兰妮的「双面」主题也带来影响，唱片一面是「纯真」，一面是「黑暗」。
She described the final product as being "a bit cringe" and reflective of her personal experiences, although noted that its promotional campaign would be "pink and fluffy".	她说最后的制作『有点畏缩」，反映了她的个人经验，但也说专辑的推广告活动将会呈现「粉红与毛绒绒」的风格。
On 1 March, Diamandis unveiled the album artwork for the standard version of Electra Heart, which depicts a blonde Diamandis wearing several hair rollers.	3 月 1 日，Diamandis 公开了标准版「Electra Heart」的专辑封面设计，画面中金发的 Diamandis 上着几个发卷。
The singer later revealed that because of the dye, her hair started to fall out, so she got a boy's haircut and wore a wig.	歌手后来说因为染剂的关系，她开始掉头发，所以之后就剪成男孩样式的短发，并且戴假发。
Becky Bain from Idolator complimented its "retro film stock look" and opined that it "is just a snapshot from some 1970s exploitation movie", while Bradley Stern from MuuMuse jokingly referenced the album track "Homewrecker" when stating that she "looks like a proper Suzy Homemaker! (Or should I say Suzy Homewrecker?)" The artwork for the deluxe version features the same picture of Diamandis, although it is tinted purple.	Idolator 的 Becky Bain 补充说那「看起来像是老电影」，又说「那就是从 1970 年代电影里的画面中截取的」；而 MuuMuse 的 Bradley Stern 则开玩笑地在提到专辑中的「Homewrecker」一曲时，说她「看起来就像个 Suzy Homemaker 娃娃（或者应该说是 Suzy Homewrecker?)」豪华版的封面也是同一张 Diamandis 的照片，只是变成紫色调。
The track listing for the standard version was confirmed on 1 March, while the track listing for the deluxe version was announced on 5 March.	标准版的曲目顺序于 3 月 1 日确定，而豪华版的则于 3 月 5 日公布。
A limited edition box set of Electra Heart contained the deluxe version of the record, four photo art cards, a ring, perspex, necklace, and pocket mirror.	Electra Heart 限定盒装版内含豪华版专辑唱片、四张相片卡、一枚戒指、压克力饰品、项链和口袋型化妆镜。
Diamandis released 11 music videos through YouTube during the promotional campaign for Electra Heart.	在 Electra Heart 的宣传期间，Diamandis 在 YouTube 上发布了 11 支 MV。
She claimed that their production led her record label into bankruptcy, but stated that they would be released and "finish this era the way I want to." The first, titled "Part 1: Fear and Loathing", was released on 8 August 2011, and sees Diamandis cutting her long brown hair and singing the track on a balcony during the nighttime.	她表示这次制作让他的唱片公司破产，但也说唱片还是会推出，而且「依照我想要的方式结束个时代」。第一张专辑名为「Part 1. Fear and Loathing」，于 2011 年 8 月 8 日推出，可看到 Diamandis 剪去她的长棕发，在晚上于阳台上唱其中的曲子。
It was followed by "Part 2: Radioactive" on 22 August, which depicts a blonde-wigged Diamandis travelling across the United States with her romantic interest.	8 月 22 日时接着推出「Part 2. Radioactive」，描绘戴着金色假发的 Diamandis，以其浪漫的兴趣横越美国。
The track was released through the iTunes Store on 23 September, and peaked at number 25 on the UK Singles Chart on 15 October.	9 月 23 日时，该曲在 iTunes Store 上架，于 10 月 15 日登上英国单曲排行榜最佳排名第 25 名。
The black-and-white clip "Part 3: The Archetypes" shows the close-up of a blonde Diamandis while the introduction of "The State of Dreaming" is played; it introduced the archetypes "housewife", "beauty queen", "homewrecker", and "idle teen" on 15 December.	以黑白画面拍摄的「Part 3: The Archetypes」，在音乐「The States of Dreaming」中，以特写镜头呈现金发的 Diamandis；在 12 月 15 日发行的该片，呈现出「housewife」、「beauty quenn」、「homewrecker」、「idle teen」的原型。
"Part 4: Primadonna" served as the music video for the lead single from the record on 12 March 2012.	2012 年 3 月 12 日推出的「Part 4: Primadonna」MV 是唱片中的的第一支曲目。
Marjorie Heins is an attorney with a focus on civil liberties.	Majorie Heins 是专注公民自由领域的律师。
She received her Bachelor of Arts degree from Cornell University in 1967.	她于 1967 年在康乃尔大学取得学士学位。
Heins graduated from Harvard Law School with a magna cum laude distinction, receiving her juris doctor degree in 1978.	Heins 于 1978 年在哈佛法学院以前 15％ 的优异成绩取得法学博士学位。
At the time of the book's publication in 1993, Heins served as the founding director and chief lawyer for the Arts Censorship Project.	在该书出版的 1993 年当时，Heins 在艺术审查专案中担任创始董事兼首席律师。
The project was formed as a division of the American Civil Liberties Union in 1991 during societal conflict in the U.S. over attempts to decrease financing for the National Endowment for the Arts, and to censor the musicians 2 Live Crew.	该专案是美国公民自由联盟的一个分支，于 1991 年在美国成立，当时美国社会正在进行一场抗争，反对政府降低对国家艺术基金的财务支援，也反对审查音乐家 2 Live Crew。
In 2000, Heins became the founding director of the Free Expression Policy Project at the National Coalition Against Censorship.	2000 年，Heins 成为全国反审查制度联盟旗下言论自由政策专案的创始董事。
Her published books prior to Sex, Sin, and Blasphemy include: Strictly Ghetto Property: The Story of Los Siete de la Raza (1972), and Cutting the Mustard: Affirmative Action and the Nature of Excellence (1987).	在「性、罪与亵渎神灵」一书之前，她曾出版过的书包括：「Strickly Ghetto Property: The Story of Los Stete de la Raza」(1972) 和「Cutting the Mustard: Affirmative Action and the Nature of Excellence」(1987)。
Subsequent to the publication of Sex, Sin, and Blasphemy, Heins wrote Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth in 2001, which received the 2002 Eli M.	在「性、罪与亵渎神灵」出版后，Heins 在 2001 年写了「Not in Front of the Children: "Indecency", Censorship, and the Innocence of Youth」 ，获得美国图书馆协会 2002 Eli M.
Oboler Award from the American Library Association; and Priests of Our Democracy: The Supreme Court, Academic Freedom, and the Anti-Communist Purge in 2013, which received the Hugh M. Hefner First Amendment Award.	Oboler 文学奖，以及 2013 年的「Priests of Our Democracy: The Supreme Court, Academic Freedom, and the Anti-Communist Purge」，获得 Hugh M. Hefner 第一修正案奖。
Sex, Sin, and Blasphemy: A Guide to America's Censorship Wars was first published in 1993 by The New Press.	「罪、性与亵渎神灵：美国审查战役指南」于 1993 年由 The New Press 首次出版。
The book was re-published by The New Press in 1998.	该书于 1998 年由 The New Press 再版发行。
It's stated that in September 1993, "Heins was the featured speaker at two events at the fifth annual Uncensored Celebration, sponsored by the American Civil Liberties Union Foundation of Oregon, where she spoke about her book and her work for the Arts Censorship Project".	1993 年 9 月有以下记载：「Heins 受邀在两场由奥瑞冈州美国公民自由联盟基金会赞助的第五届反审查庆祝年会上发表演说，提到她的书与其在艺术审查专案的工作」。
She was a special guest at the Free Speech Lunch on September 18, 1993, as part of the Pacific Northwest Booksellers Association's Trade Show Northwest.	1993 年 9 月 18 日她担任言论自由午餐会的特别来宾，这是由西北太平洋书商联合会举办的西北商展中的一场活动。
On October 6, 1993, the Newark, New Jersey art gallery Aljira, a Center for Contemporary Art held a reception in honor of Heins' work where she spoke about her book and her efforts to defend works of art from censorship.	1993 年 10 月 6 日，新泽西州纽瓦克的当代艺术中心 Aljira 艺术画廊举行了一次招待会，表彰 Heins 的作品；会中她谈到了她的书，以及她为保护艺术作品免于审查的努力。
Sex, Sin, and Blasphemy provides the reader with a history of censorship of artworks.	「性、罪恶和亵渎神灵」将艺术品审查历史介绍给读者。
The book argues that artists have been scapegoated by those advocating censorship, as a method of diverting debate away from the suppression of human rights.	这本书指出，提倡审查制度的人，把艺术家当作代罪羔羊，以此将大众的注意力自人权压迫上转移开来。
The author asserts that censorship of works deemed obscene has been used as a tactic throughout history to suppress women's rights.	作者强调，审查淫秽作品，在整个人类历史上，一直是一种打压女权的手法。
Heins describes for the reader the history of the 1873 Comstock laws.	她向读者介绍 1873 年制定「考姆斯托克法」的历史。
It's stated that,"such laws were put forth by United States Postal Inspection Service inspector Anthony Comstock, and after he helped influence passage of the legislation, they enabled the government to criminalize sending perceived immoral writings through the mail".	据称，「这些法律是由美国邮政检查局检查员安东尼・考姆斯托克提出的，在他推动立法的通过之后，政府即可将以邮件传送的不道德文字加以定为刑事犯罪。」
The book discusses the history of the division of the Motion Picture Association of America (MPAA) that assigns movie ratings, the Classification and Rating Administration.	该书还探讨了美国影视协会(MPAA)所属的分类与评级局的历史，该单位为电影评级。
"Skin Deep" was written by consulting producer Jane Espenson, while 24 veteran, Milan Cheylov, directed the installment.	《Skin Deep》由咨询制片人 Jane Espenson 撰写，由拍过《24 反恐任务》的资深导演 Milan Cheylov 执导。
Knowing that they were going to recreate the story of "Beauty and the Beast", series co-creators Edward Kitsis and Adam Horowitz wanted its heroine, Belle, "to exude intelligence and strength and be someone you would immediately love," which led them to approach Emilie de Ravin.	剧集共同作者 Edward Kitsis 和 Adam Horowitz 知道他们将要重拍《美女与野兽》的故事，因此希望女主角 Belle 「散发出智慧和力量，成为你会一见钟情的人」，因此他们与 Emilie de Ravin 洽谈合作。
Her casting was announced in November 2011.	2011 年 11 月公布她领衔主演的讯息。
The actress agreed after reading the script, believing that the character was "very courageous" with a playful side that would endear her to Rumpelstiltskin.	这位女演员在读完剧本后同意演出，认为这个角色「非常勇敢」，有着 俏皮的一面，让她很爱野兽。
During their casting meeting, Kitsis and Horowitz told de Ravin that Belle is defined as a strong intelligent woman in a world that disapproves of those characteristics, and that de Ravin was going to be "tak[ing] the icon of Belle and mak[ing] her a woman."	在选角会议时，Kitsis 和 Howoritz 告诉 de Ravin 说，Belle 的设定是一个坚强而聪明的女性，但其社会并不接受这些特质；而 de Ravin 要「塑造 Belle 的典范，成为典型的女性」。
Espenson said that this was one of their most love-centered episodes; when they realized it was going to be airing near Valentine's Day, they decided to "lean into" this theme.	Espensen 说，这集是所有集数中爱情最重的一集；当他们发现播出日期很接近情人节时，决定要「深入」这个主题。
Unusually for Once Upon a Time, the theme of this episode changed during the writing process.	在写《童话小镇》的剧本时，主题通常会变更。
It was initially meant to center on Rumpelstiltskin choosing power over love.	一开始时剧情着重在野兽选择权力，放弃爱情之上。
However, as Espenson went through drafts and discussed them with others, she decided that Rumpelstiltskin might think he is choosing power over love, but in reality his actions are motivated by a belief that he is worthy of love at all.	然而当 Espenson 钻研初稿，和其他人讨论时，她决定野兽可能会认为自己正在选择权力而非爱情，但实际上他相信他完全值得被爱，因此促成了他的行动。
In the interest of time, Espenson was forced to edit out many plot points, including a failed escape attempt by Belle.	由于时间紧迫，Espenson 被迫放弃许多阴谋点，包括 Bell 一次失败的脱逃尝试。
Despite this, she sought to trim down more time from the Storybrooke scenes and "preserve as much as we could of the fairy tale side," as the Belle-Rumpelstiltskin relationship was a love story that needed time to grow in order to be believable.	虽然如此，她还是设法从《欢迎来到童话镇》的情节中挤出更多时间， 「尽我们之力保留童话故事」，因为 Belle 和野兽的爱情需要更多时间蕴酿，观众才会相信。
De Ravin was a fan of the series before being cast and was happy to be able to view the costumes up close, describing her character's gold dress as "absolutely stunning." The casting of her former suitor, Gaston, was announced in December 2011 with Psych actor Sage Brocklebank.	De Ravin 在接演前就是本剧影迷，很高兴可以近距离看到化妆，也说她扮演角色的金色服装「超级亮眼」。饰演前任求婚者 Gaston 的演员，在 2011 年 12 月宣布，由曾演出灵异妙探的 Sage Brocklebank 演出。
De Ravin described the episode's version of Gaston as "maybe not as cocky as the animation [version of him], but it’s funny." Rumpelstiltskin's castle was shot almost entirely on greenscreen, with only a few real props being used.	De Ravin 说该集中的的 Gaston 「似乎不像动画版中的他那样骄儌，但是非常有趣」。野兽的城堡几乎完全以绿幕拍摄，仅使用几个实景。
It was de Ravin's first time working with this technology, which caused her to become "quite nervous." The physical props helped her with the scenes, and "they ha[d] a fantastic set up of a couple of monitors that you can see a markup of basically how it’s going to look."	这是 de Ravin 头一次使用这种拍摄技术，因此让她变得「相当紧张」。实体道具帮她融入场景，「工作人员也设置了两个萤幕，你可以看到一些指示，知道基本上画面看起来会是什么样子。」
The episode was included in Reawakened: A Once Upon a Time Tale – a novelization of the first season – which was published by Hyperion Books in 2013.	2013 年由 Hyperion Books 出版的第一季改编小说「Reawakened: A Once Upon a Time Tale」，就写入了本集。
There are multiple references made to Disney's Beauty and the Beast.	许多处都参考迪士尼版本的《美女与野兽》。
The chipped tea cup that Belle accidentally drops is a reference to the boy-transformed-teacup Chip from the animated film.	Belle 不慎掉落造成的破一角茶杯，就是参考了动画电影中小男孩变成的茶杯角色 Chip。
Also, Rumplestiltskin was referred to as a "beast" by Belle's father.	同时，Bell 的父亲也把 Rumplestiltskin 叫做野兽。
Belle's fiancée in the show is named Gaston, the Disney antagonist, and he was turned into a red rose, which featured prominently in the film.	剧中 Belle 的未婚夫叫做 Gaston，在迪士尼版本中是反派，剧中他变成一朵红玫瑰，演技十分精湛。
In addition, most of Belle's clothing in the fantasy world appears to be directly inspired by the Disney film, such as her classic yellow ballgown and her blue-and-white plainclothes.	此外，Belle 在童话世界中的服装，看来是直接受到迪士尼动画片的启发，例如她的古典黄色礼服，以及蓝白双色的平日穿着。
